Important notes
Contents
1. CC21 Attack if applicable emphasises the bow stroke attack at the very beginning of the sample CC22 Release controls the length of the release trigger samples If set to 0 the release trigger is deactivated thus the CPU and hard disk load reduced CC23 Tempo or Length if applicable controls the tempo of the runs and portamentos or in the patch Variable Length and Advanced Legato the note length CC24 Accent or Add as accent applicable only in Advanced Legato or in some combinations with the patch Staccato Controls the amount of accent by adding staccato to any other articulation CC25 Transition Density applicable in Advanced Legato only Enables faster transitions between the Variable Length notes C27 Convolution Reverb controlls the amount of the high quality convolution reverb in the demonstration patch Play me First Validity of the MIDI controllers in the complex key switched patches Please note that especially in the key switched patches like Main Setup the CC controllers and their names do not necessarily apply to every key switch For example the fact that after loading the patch Violins Main Setup the controller Attack CC21 appears on the GUI means solely that it applies to some not all key switches Whether it s active or not depends on the particular articulation you ve chosen with the key switch Please refer to the descriptions o2. Multis or Multi Instruments contain 2 or more instruments patches Violas Cellos and Basses consist of the patches Main Setup and Staccato The Multi Full Strings consists of Full Strings I and Full Strings II The Demonstration Multi Play me first is maybe the most suitable patch for composing or orchestrating It consists of Full Strings Variable Length and Fast Runs Violins only There are two versions of the multi Play me first without and with the high quality convolution reverb Turning the reverb CC27 to 0 deactivates it and reduces the CPU load The Key Switches used in the Multis are nearly the same as in the Main Setup described above with the following exception Key switch F activates the patch Variable Length For further details see Variable length in the group Special Patches below SPECIAL PATCHES 1 VARIABLE LENGTH New version in the Second Edition Possible mode samples with adjustable length from approx 0 3 to 2 sec and conventional looped sustained samples 3 layers Assigned controllers Length CC23 Slope Expression CC20 Release length CC22 Key switches none If you need expressively played notes with a kind of crescendo at the beginning and a decrescendo at the end you will soon realise that using short release samples are often not good enough You need the much longer natural decay phase of
3. whereas close micing sounds more direct but somewhat harsh And even using the ambient or normal samples it is possible to make them sound closer or dryer by shortening the release trigger samples with the release parameter Tuning pitch and transposition The reference pitch is A3 440 Hz thus the middle C is C3 All the instruments multis are mapped to the corresponding keys according to their original sounding pitch notation The exceptions Basses belong to transposing instruments they are mapped according to their notation i e from C1 to G3 although they sound from CO to G2 Full Strings and Play me first are mapped one octave higher i e the whole range of these multi instruments is moved one octave to the right to fit the 7 octave keyboard as the lowest octave C0 B0 is reserved for the key switches Updates For future updates and demos please visit the download or product zone on www bestservice de
4. climax adding a short fff sample of maximal loudness which cannot be looped after the key has been released This loudest stroke on release requires that the ModWheel is on its maximal position CC1 value127 at the moment of the key release Otherwise the sample will stop in a conventional way Please note that in the cross fade mode ModWheel gt 0 the velocity still slightly controls the volume The AutoCrescendo mode is activated when the Expression controller CC20 is turned fully clockwise to its maximum setting value 127 In this mode the player automatically performs a crescendo from pp to ff its length being dependent on the position of the ModWheel the lower the ModWheel value the longer the crescendo Also the loudest stroke on release feature works here as well just move the ModWheel to its maximum setting value 127 during the crescendo and at the right moment release the key C Portamento glide 1 voice only Possible modes Velocity controlled multi layer sustains in monophonic mode 3 layers Portamento if Pitch Bend is moved out of its middle position Assigned controllers Pitch Bend Glide Interval controls the portamento interval Expression Slope CC20 Time CC23 controls the portamento time Accent CC24 works only if staccato loaded To get the portamento glide effect move the Pitch Bend in either direction The effect meant here is a pitch glide upwards leading
5. gt Violins gt Violins Runs Please note keys which do not belong to a particular major or minor key are not mapped only the initial staccato note can be heard For example if you load the D major run the keys D F G A and C are not mapped as they do not belong to the D major key The Runs 140 are available for violins only SINGLE PATCHES No doubt instruments like Main Setup are convenient but memory demanding patches If you need only a part of the offered articulations playing techniques you will certainly prefer your own MIDI switched setup using Single Patches Single Patches are simply members of the Main Setup stored separately without any key switching For further details please refer to the section Main Setup above Also the Violins Runs 140 see Special Patches are available in this folder as single patches in all 12 keys which can be loaded separately Please note that instruments like Advanced Legato and many of the Special Patches do not use Key Switches as well Final Notes Key switch assignment The pdf files placed in the folder Print it KSwitch assignment show the key switch assignments used in all instruments and multis You will learn them very quickly but for the very beginning please print the file you need and put the print above the appropriate keys on your keyboard Using the convolution reverb Both Kontakt Player and Sampler have a built in convolution reverb It is capab
6. avoid releasing the key in the decay phase since due to the technical reasons the optimal transition cannot be maintained in this case keep the key pressed until the end of the sample A Staccato must be loaded separately unless you use a multi Possible mode velocity controlled staccato samples quintuple alternation switching 3 layers Assigned controllers Attack CC21 Slope CC20 Release time CC22 Add as accent CC24 Violins only ModWheel activates the Falls Very expressive and lively velocity controlled staccato samples from pp to ff 3 layers Repeated key strokes switch alternately between 5 samples per layer The Slope is the opposite parameter of Attack Add as accent lets you mix the staccato samples together with other key switched articulations The patch Violins Staccato let you also play violin falls To activate them turn the ModWheel fully up To play both staccato and falls without switching simply hit the key briefly to hear only the staccato samples and keep the key pressed longer to reveal the fall Due to technical reasons the key switch A in the Main Setup is just reserved for Staccato and normally empty To use staccato it is necessary to load it separately unless you have loaded a multi instrument A B Fast Runs downwards upwards Possible modes velocity controlled fast runs of any length fitting any key ornamentations Assi
7. the note The most realistic would be samples of the particular length you need For this purpose the patch Variable Length has been created After loading it you will hear samples which are approximately 1 sec long With the knob Length or your external controller CC23 you can vary the length between approximately 0 3 and 2 sec changing the controller values from 0 to 125 If the knob Length is set to the maximum CC23 127 notes of any length till release can be played Variable Length is also used in its monophonic version in the patch Advanced Legato hence some details described there apply to both patches Here they are again Dynamics CC1 ModWhell controls the level and switches between the pp mf and ff of the variable length samples controls the dynamics by crossfading between pp mf and ff if used with looped samples see below Slope CC20 controls the attack curves Length CC23 controls continuously the length of the samples between approximately 0 3 and 2 seconds if between 0 and 125 If set to the maximum 126 or 127 sustained looped samples of any length till release can be played Release CC22 controls the length of the release samples only see Important Notes below Important notes Release samples are used only with the looped sustained samples i e if the Length CC23 is set to the maximum Since Variable Length samples are intended to be played in their full adj
8. the release trigger either by pressing or programming the sustain pedal shortly before releasing the key or by changing the parameter CC22 Release down to zero for a moment RAM and CPU load vs freeze String Essentials may cause high RAM and or CPU load To avoid problems especially running the Player with a host application like Logic or Cubase we recommend to render the tracks whenever possible using the freeze function Working with multiple loads of the same instrument Since instruments like Main Setup contain many sounds playing techniques you may need the same instrument many times assigned to different midi channels In this case perform the multiple load of the same instrument within the same player or Kontakt 2 instance This will ensure that the system will load the samples just once Otherwise loading the same instrument to two different players still within the same host application will consume double the RAM capacity Why ambient normal and dry The question may arise why not reduce the library to one third of the size and use a modern convolution reverb to create any acoustic environment The answer is simple the different mic placements have been used not because of the different amounts of ambience which can be reconstructed digitally indeed but because of the different sound character of the samples captured from different mic positions Distant micing provides a smoother gentler sound
9. to the target pitch To get more realism there are two layers with different portamento curves This creates the typical initial detune until both sounds reach the perfect target pitch The Pitch Bend controls the start pitch down to 1 octave With the button Tempo you can control the portamento time D Tremolo looped D Trill half step looped E Trill full step looped The key switches above use a very similar setup like C looped sustains Possible modes velocity controlled tremolo trill ModWheel 0 3 layers xfade controlled multi layer tremolo trill crescendo decrescendo if ModWheel gt 0 Assigned controllers Expression CC20 active in velocity mode only Attack CC21 active in xfade mode only Release time CC22 zero position deactivates the release feature Accent CC24 works only if staccato loaded F Whole notes Possible mode velocity controlled whole notes approx 2 sec 3 layers Assigned controllers Expression Slope CC20 Attack CC21 Release time CC22 zero position deactivates the release feature Accent CC24 works only if staccato loaded The names whole half or quarter notes refer to 120 bpm Whole notes are samples of approximately 2 sec length Their amplitude envelope thus the character is different from the sustained notes Releasing the key earlier than 2 sec provides a smooth transition to the release sample Please avoid rel
10. String Essentials User Manual What is new in the Second Edition 1 All the patches can be played in any scale beyond major minor like Arabic quarter tone etc and perform any intervals using the Microtuning tool 2 New script powered program group Variable Length enables performing notes of any length between approximately 0 3 to 2 sec using CC23 or the virtual knob Length on the instrument GUI Unlike the similar category in the first edition these patches use script controlled solutions and optimised settings for better quality and less CPU load 3 New script powered program group Advanced Legato enables very realistic phrasing and legato transitions 4 Light versions are available also for ambient and dry patches 5 Single Patches Each articulation playing technique which can be accessed in the complex programs via Key Switches are now also available as separate patches enabling any individual user definable MIDI switched combinations normal mic placement only 6 After an instrument has been loaded the very first key stroke initializes the controller default settings it is no more necessary to move all the assigned controllers before playing Quick Start 1 Install and activate Complete Orchestral Collection Print the pdf file Play Me First placed in the folder Print it KSwitch assignment or display it on the monitor If you have a 7 octave or a second keyboard p
11. all button AUX at the right margin of the instrument GUI or on if no AUX button is seen and move the slider aux 1 Violins Pizzicato L 48 DEMO 4 gt e Tune Output st 1 0 H 32 Purge 0 00 Midi Ch A 1 j 1 90 MB Controllers X ND STRING ESSENTIALS To remove the convolver or to control its parameters you can access it in the first insert of the aux 1 channel CU in the player sampler output section Deleting unused parts of the library If you need your disk space and use just a part of the sound categories e g just normal but not ambient or dry you can simply delete unused audio files encoded in the nks files monoliths Please note that only the nks files with dry or ambient in their names can be deleted as normal contains important authorisation data Multiple Player Instances vs CPU load For complex orchestral arrangements it is strongly recommended to avoid opening many separate Player or Sampler instances Instead please load multiple patches in one Player or Sampler and assign them to different MIDI channels and outputs Depending on the host application used you can load at least 16 patches per player sampler For trouble free working the right Kontakt DFD settings are essential don t use too small or too large buffer size settings and larger than necessary amonut of voices accesible via the expert setting Amount of memory RAM r
12. aneously in a slightly different way exactly like the orchestra musicians do Every musician approaches the target note in his individual way Thus the intonation is widely spread in the middle of the glissando but ends up at the perfect tuned target note Please note that the intensity of this out of tune effect depends on the glissando speed To match the detune intensity with the tempo you need simply choose one of the three available presets for faster glissandi leave the Detune knob at its zero position For slower glissandi use the middle and for very slow ones the fully clockwise position To play a glissando upwards simply turn up the pitch bend To play a glissando downwards however it is necessary to turn the pitch bend down and to depress the sustain pedal This solution was necessary to reduce the excessive number of voices 3 REPETITIONS Possible modes half and quarter notes with triple and quintuple alternation switch as above monophonic mode sustain pedal depressed Assigned controllers Slope CC20 Tempo CC23 decay shape Attack CC21 Key switches G Half Notes G Quarter Notes This somehow experimental patch lets you play multiple down and up bow repetitions of the same note as well as regular sequences in slow or moderate tempos To ensure seamless legato like transition between the notes the sustain pedal should be constantly depressed and released just befo
13. atural envelope only release and to maintain a consistent sound quality In some very rare cases an accidental disadvantageous summing up of the waveforms in the middle of the Variable Length sample may take place leading to an audible glitch i e a short discontinuity of the sound intensity or timbre This can be easily avoided by changing the CC23 Length slightly without noticeably affecting the sample length The dynamic level of the long looped samples can be continuously changed via CC1 ModWheel enabling any crescendo decrescendo between pp and ff The Variable Length samples since relatively short are intended to be played on a fixed dynamic level In this case CC1 controls their volume and recalls the right pp mf or ff samples according to its initial position Key switched INSTRUMENTS These instruments consist of a number of categories sounds assigned to different key switches The key switch range is CO BO for Basses and Cellos C1 B1 for Violas and Violins Generally speaking the key switches are always on the left side covering the range of an octave from C to B possibly close to the instrument range Some key switches allow different modes depending on the parameter settings Please note after loading it is necessary to press a key switch before playing 1 MAIN SETUP Violins Violas Cellos Basses Main Setups include samples of various lengths from looped sustains to q
14. complex patches via Key Switches can also be loaded separately and switches using different MIDI channel assignment This group of programs is available in the normal category i e neutral microphone position and can be found in the folder Single Patches The folder Light Versions contains reduced memory patches Generally all the setups besides Runs and Pizzicato use 3 dynamic layers piano p soft mezzoforte mf medium and fortissimo ff very loud some of them 4 with additional short JSff samples of maximal intensity Release trigger is basically activated but can be switched off see description of the MIDI parameters above Normal vs ambient and dry String Essentials uses samples recorded with 3 different mic placements in a large recording studio In most cases you will probably find the normal samples as the most suitable They have been recorded using optimal neutral mic placement In order to meet different requirements however two other mic placements have been used If you prefer dry direct sound character you can use the programs in the Dry folder with D in their names The dry samples have been recorded using a number of close spot mics mixed together For smoother more reverberant and classical sound character you can choose programs in the Ambient folder with A in their names The ambient sound was achieved by two spaced apa
15. ding some attack or initial accent as well as for easy and natural switching between staccato if played extremely short before the sustained samples reach their audible level and non staccato if the key remains depressed long enough This is a static controller i e it is not intended to be permanently changed during the performance The current amount of staccato can be controlled by the velocity Important Notes release samples are intended to be used mainly with the looped sustained samples i e if the Length CC23 is set to the maximum They are triggered not only on release but also on any interruption due to an overlapping legato note on This adds much more realism to the legato transitions For the above reasons the best legato transitions between two notes can be obtained if the first of both notes is a long looped sample CC23 127 Whether the following note should be still a looped sustained or fixed length sample depends on whether the legato series continues or stops The Variable Length samples set by the CC23 lt 126 work perfectly as stand alone notes or as the end notes finishing a series of legato notes So since they are intended to be played in their full length the release samples are basically not necessary Nevertheless in case you check briefly some phrases and interrupt these samples before they end release samples will be also triggered This is in order to avoid unn
16. easing the key in the decay phase since due to the technical reasons the optimal transition cannot be maintained in this case keep the key pressed untill the end of the sample F Pizzicato Possible mode velocity controlled pizzicato with alternation switch double Assigned controllers Attack CC21 G Half notes Possible mode velocity controlled half notes with alternation switch down and up bow 3 layers Assigned controllers Expression CC20 Release time CC22 zero position deactivates the release feature Accent CC24 works only if staccato loaded Expressive and lively velocity controlled 1 sec long samples from pp to ff Repeated key strokes play down and up bow samples alternately Releasing the key earlier than approx 1 sec provides a smooth transition to the release sample Please avoid releasing the key in the decay phase since due to the technical reasons the optimal transition cannot be maintained in this case keep the key pressed until the end of the sample G Quarter notes Possible mode velocity controlled quarter notes 3 layers Assigned controllers Attack CC21 Release time CC22 zero position deactivates the release feature Accent CC24 works only if staccato loaded Velocity controlled relatively short straight bow strokes of max 0 5 sec length Releasing the key earlier than approximately 0 5 sec provides a smooth transition to the release sample Please
17. eserved for DFD streaming voices For further details please refer to the Kontakt Player Sampler User Manual Stereo placement issues All instrument groups have been recorded using the full width of the stereo sound image to give you the freedom of choosing any placement in the final sound image you may need In the ready to use multis like Full Strings L and Play Me First however the groups are already placed like in a symphony orchestra i e violins to the left violas towards the center etc Applying the accent parameter Mixing the staccato samples together with longer ones also provides good results in the following situations 1 Mixing staccato 50 50 with categories like trills half notes or tremolo allows both sounds to be played without switching if you play very short only the staccato samples will be heard however pressing a key for a longer time reveals the other sound 2 For moderately fast legato passages try different mixes of quarter or half notes with staccato Avoiding unwanted release samples Rarely if you hold a key and change to another articulation using a key switch you may experience a problem with an unwanted release sample It may happen if you hold the first key longer than the duration of the sample itself and release it after a new sound has been activated with a key switch In this case the release sample of the new sound will be heard To avoid this you can simply temporarily deactivate
18. f the controller assignments above or in the Quick Reference Tables to find out more details Microtuning Tool In order to perform a patch in any scale beyond major minor like Arabic quarter tone etc click on the button Controllers on the instrument GUI choose the option Microtunig and enter necessary settings v FULL STRINGS DEMO gt g TT Output A tt Voices O 4 64 Purge 0 00 Controllers cem cc z2o CC 21 Controllers foo Microtuning Dynamic Level Attack cca23 CC 22 FULL STRINGS I Output st 1 ip 0 aH 64 Purge Midi Ch A 1 Microtuning X Controllers Microtuning General library architecture The most complex unit of String Essentials is the Multi Instrument or Multi which consists of a group of instruments Most of the instruments contain different sound categories or articulations which can be accessed via Key Switches Some of the Key Switches may contain further different modes which depend on a particular parameter setting Some more specialised patches like Variable Length Runs 140 Glissando and Repetitions can be found in the folder Special Patches Nearly the same program structure can be found in the folders Ambient and Dry The A or D in their names mean that they use ambient or dry samples only For further details concerning ambient and dry samples see below Each articulation accessible in the
19. gned controllers Tempo CC 23 Pitch bend controls the start shift ModWheel volume Very fast universal runs with start stop feature fitting any minor or major key can also be used as a powerful ornamentation tool Pressing and holding a key starts the run beginning from the corresponding pitch Pressing a second key still holding the first one plays a short target tone and stops the run The only thing you have to watch is the moment the run has to be stopped In order to play the short target tone with its natural decay play it shortly Of course while playing a run you have enough time to switch over to any other category e g whole notes using the key switch F thus ending the run with a longer note By playing very short runs you can create very realistic ornamentations For example play and hold the C4 followed after a short moment by D4 The result will be a note in our case D4 with preceding ornamentation in our example C4 D4 E4 assuming that you press the second key early enough and interrupt the run behind E4 There is also a more advanced run start shift feature normally the run sample itself starts just behind the start note which is a modified staccato sample Turning the pitch wheel up or down however moves the start marker so that the run starts above or below the start pitch The more you turn the pitch wheel the bigger the interval between the first note you play and the start n
20. l for cross fading between the dynamics crescendo decrescendo or turn it down to 0 to activate the velocity control mode If playing Variable Length KSwitch FO the sample length can be altered with the knob Length CC23 If you are using this software as a stand alone application you can also load Play Me First including reverb Caution high processor load Due to some advanced features please refer as soon as possible to the further parts of this manual to learn more about the sound shaping via MIDI parameter program content and key switching Important notes for Kontakt Sampler users If you have a Kontakt Sampler you have the possibility to access the inside of the patches and modify or reprogram them in any way However before using the Kontakt Sampler software it is necessary to do the following 1 Make sure the library is correctly installed and authorised If the patch you have loaded uses key switches many of them do it is necessary to press one before you play 3 You can also install the player in parallel to your sampler and use it alternately Remarks to the naming conventions velo refers to a patch in which the different dynamic layers pp mf etc are controlled via velocity only cresc refers to a patch where crossfading between the layers thus continuous dynamic change is possible This option needs three stereo voices per note Light L light patches
21. le of recreating a reverb of real acoustical environment previously sampled and stored as an IR Impulse Response Even if you do not own the K2 Sampler you can apply this high quality reverb to any patch using the Player included in this library To load the Convolution Reverb at the output of the Player first open the Multi Convolution Reverb This is an empty Multi Instrument which uses the Convolution unit in its output configuration Important while loading the Convolution Multi choose yes for the option Replace Multi Only this option ensures loading the right output configuration _ gt Convolution Reverb DEMO 4 gt s g Output st 1 v Voices Mas 32 Purge 0 00 aux hae didi ad a Outputs Presets Batch Configuration X Add Channels Delete Channel Show Inserts Edit Effect Convolution Pre Diy IR Warm Hall_ IR ncw EIO Bits 22 Length ch 222 Early Bypass Preset v gt 0 00 ms DRY K J WET cs HighPass gt 20 0 Hz LowPass e Volume Envelope Falk Hz SRate v Reverse st 1 st 2 surr 5 1 0 0 dB From now on you can apply a great concert hall reverb to any Instruments or Multis loaded afterwards While loading a Multi to be used with the convolver choose the merging option clicking on No in order not to replace the previous output configuration To control the amount of reverb open the AUX Sends of the appropriate instrument clicking on the sm
22. mitated with the rather short release samples This very typical ascending and descending intensity of a string instrument can be now easily applied with full realism the user can adjust the note length perfectly fitting his phrase preserving its original intensity envelope thus its musical character This patch is also using multiple staccato samples for more performance freedom and as a flexible accent tool see below Advanced Legato uses the following MIDI controllers Dynamic Level CC1 ModWheel controls the level and switches between the pp mf and ff of the Variable Length samples controls the dynamics by crossfading between pp mf and ff if used with looped samples see below Transition Shape CC20 controls the attack or transition curve important parameter for optimising the transitions between the legato notes Transition Intensity CC25 controls the starting point of the legato notes if used with Variable Length controls the attack intesity if used with looped samples CC23 127 Length CC23 controls continuously the length of the samples between approximately 0 3 and 2 seconds if between 0 and 125 If set to the maximum 126 or 127 sustained looped samples of any length till release can be played Release CC22 controls the length of the release samples only see Important Notes below Accent CC24 controls the mix between the samples described above and the staccato samples It can be used for ad
23. ng the tempo is only active for the half notes key switch G in legato mode sustain pedal depressed 4 VIOLINS RUNS 140 downwards upwards Possible modes runs of any length in any key approximately 100 170 BPM ornamentations Assigned controllers ModWheel controls the direction Tempo CC23 Pitch bend controls the start shift Key switches C1 B1 corresponding to the major key The Runs 140 work exactly like the Fast Runs To learn the details about how to apply them using the start stop feature and ornamentations please refer to the key switch A B in the Main Setup section above Unlike the Fast Runs the Vn Runs or Runs 140 have a defined major minor key They are originally played in 140 bpm but their tempo can be altered using the Tempo knob CC23 To enable convenient switching between upward and downward runs the ModWheel has been divided into two sections moving it in its upper half between 50 and 100 activates the runs upwards in the lower half 0 50 the runs downwards The polyphonic version poly enables more complex polyphonic structures however without the start stop feature To recall a particular major minor key press the appropriate key switch For example if you need F major or d minor press F1 for G major or d minor press G 1 etc To load just one major minor key please use the Violin Runs in the folder Single Patches
24. ote of the sampled run If for example you recall the Runs Downwards pressing the key switch A move the Pitch wheel just slightly upwards so that the run starts a major third higher and play as in the above example C4 followed by D4 the result will be quite different C4 E4 D4 C4 D4 Combining different start and target notes with different run directions and using the run start shift feature you can create nearly any possible ornamentation Although the fast runs work in many tempos you can still make them faster or slower using the Tempo button CC23 The ModWheel controls the volume to some extent enabling continuous changes of intensity Please note that due to technical reasons the start shift feature works only in original tempo Tempo 50 or CC23 64 2 STACCATO see MAIN SETUP above key switch A 3 FULL STRINGS 1 amp 2 Ideal for composing arranging orchestrating or just experimenting Offers a full range of the string ensemble from CO to C6 Full Strings use the same key switch assignment like the Main Setup see above For technical reasons they had to be divided into two separate patches Full Strings I containing the key switches C E and Full Strings II with the key switches F B including staccato If you load the multi Play me first or Full Strings L both patches will be loaded automatically For detailed description please refer to the patch Main Setup above MULTIS
25. re releasing the key of the last note The key switch G activates half notes G quarter notes related to approximately 120 bpm The original samples in their full length consist of a series of 3 half notes or 5 quarter notes played legato on the same pitch down and up bow alternately However the program never reproduces them in their full length at once Instead they are patched in such a way that pressing a key plays only one section of the sample or strictly speaking a half or a quarter note If you press the same key again the alternation switch will play a different section of the sample Thus it cycles between 3 half notes key switch G or 5 quarter notes key switch G Please note that the release trigger works only if 1 the sustain pedal is not depressed and 2 you release the key early enough Since the sections are just cut out of a series of notes you have to release the key or play the next note before the section ends Otherwise it stops without any natural decay or ambience To optimise the amplitude envelopes according to the tempo try different settings of the slope attack or tempo parameter The Slope creates a softer attack whereas the Tempo in this case changes the length of the section so that the decay can start shortly before the next note is played Optimal results need some experimenting with all 3 parameters Please note that the parameter Tempo which shapes the decay for better matchi
26. rt mics capturing the studio ambience Surround If you need a surround sound image you can use normal and ambient samples for the front and rear speakers respectively The result is a very natural impressive surround sound as the mic placement corresponded exactly to that used for surround recordings Light versions If you experience any difficulties with the RAM capacity hard disk streaming or the CPU load use the light versions Although they use a reduced number of samples per octave thus less then 50 of memory they still maintain a surprisingly high sonic quality Detailed patch descriptions Actually you can play the library right now using the learning by doing method However to avoid too much experimenting and searching please give some attention to the following and learn the details It is really not so difficult as it seems Advanced Legato new in the Second Edition Path Instruments Advanced Legato Advanced Legato is a comfortable one stereo voice patch for creating realistic and expressive phrases It uses two important tools 1 Legato while playing overlapping notes the integrated script performs optimised transitions between them 2 Variable Length no doubt the end of a sample is nearly as important as its beginning attack Frequently the decrescendo like articulation at the end of a note corresponds to a certain relatively long build up of the beginning and cannot be i
27. uarter notes approx 0 5 s trills and tremolo all in 3 or 4 dynamic layers pp mf ff fff pizzicato and fast runs Please note that for technical reasons staccato is not included and must be loaded extra The key switches start with the longest looped samples The higher the key the shorter the samples so the order is various looped categories whole notes half notes quarter notes staccato fast runs The exception pizzicato which is assigned to F The key switch and controller assignments are C Sustained looped samples Possible modes velocity controlled sustains if ModWheel 0 3 layers xfade controlled multi layer sustains crescendo decrescendo if ModWheel gt 0 4th layer for crescendo climax on release if Mod Wheel 127 max AutoCrescendo if Expression 127 max ModWheel controls the time Assigned controllers Expression Slope CC20 works in velocity mode only Attack CC21 works in xfade mode only Release time CC22 zero position deactivates the release feature Accent CC24 works only if staccato loaded If the ModWheel is set to 0 3 dynamics pp mf ff are controlled via velocity Above 0 the ModWheel controls the cross fade between the layers using carefully programmed loudness curves providing natural dynamic control crescendo decrescendo etc please note in this mode triple amount of voices is needed An additional release feature emphasizes the crescendo
28. using less samples per octave thus less memory 42 Dry D uses samples recorded with microphones placed close to the instruments Amb A uses samples recorded with distant microphones capturing the studio ambience Controlling the parameters via a MIDI controller String Essentials provides the possibility to control numerous sound properties via a MIDI controller ModWheel Pitch Bend and CC 20 27 The following is just a general description as the detailed parameter assignment may vary from patch to patch For full description see the detailed program description further in this manual or the Quick Reference Tables at the end of the booklet ModWheel if applicable controls the dynamics or level or switches between different modes depending on its position For example In the patches with looped samples key switch C or D E the mod wheel controls the crossfade between the layers from pp to ff enabling realistic crescendo decrescendo However at its zero position it switches over to the velocity mode i e the player controls the pp mf or ff layer via velocity Pitch Bend if applicable controls parameters like glissando portamento depth or run start shift CC20 Slope or Expression if applicable controls the attack time or the swell i e the amount of a slight crescendo after note on Additionally in the patch Main Setup setting this parameter to 127 recalls the program automated crescendo
29. ustable length no release samples are used Unlike Variable Length used in the Advanced Legato they are polyphonic n some very rare cases an accidental disadvantageous summing of the waveforms in the middle of the Variable Length sample may take place leading to an audible glitch i e a short discontinuity of the sound intensity or timbre This can be easily avoided by changing the CC23 Length slightly without noticeably affecting the sample length The dynamic level of the long looped samples can be continuously changed via CC1 ModWheel enabling any crescendo decrescendo between pp and ff The Variable Length samples since relatively short are intended to be played on a fixed dynamic level In this case CC1 controls their volume and depending on its initial position activates the pp mf or ff group 2 GLISSANDO Possible modes Upward glissando Downward glissando if sustain pedal depressed Assigned controllers Detune CC20 Sustain pedal enables gliss down ModWheel controls volume Key switches none Using this patch you can play any glissando up or down to 1 octave You won t hear any unwanted transposition side effects as turning the pitch bend up or down transposes the pitch by no more than 1 1 semitone and cross fades seamlessly to the next higher or lower sample Also to maintain the realism the program uses two layers which perform the pitch gliding simult
30. ut the print above the keys C0 B0 String Essentials multi instrument Play Me First Portamento Trill H Pizzicato Quarter Fast runs Mono Mode Mod or vel notes down Vn only Long ModW or vel Tremolo Trill F Variable Staccato Fast runs auto cresc f ModW or vel Mod or vel lanath up Vn only 3 Start the Player double clicking on it Load the patch Play Me First Multis Play Me First Demonstration Play me first 5 Ifyou experience any difficulties with too little memory decrease the DFD buffer setting refer to the Player Manual for further details If your Mac PC has 1 GB RAM or less choose the light version Multis Multis light Play Me First L Demonstration Play me first 6 Press any key switch between CO and BO to choose the articulation you need To activate the Key Switches you can also click on the virtual keyboard of the Kontakt Player 7 Play and enjoy the sound Move the ModWheel and the active controllers on the Kontakt Player GUI Graphic User Interface to hear how they influence the sound Please note that in certain modes not all the controllers are active Please refer to the Quick Reference Table Play Me First at the end of this manual 8 If your MIDI keyboard has only 5 octaves please use the transpose function to reach the appropriate range A Please note in the sustained categories key switches C0 DO E0 you can either use the ModWhee
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