GigaStudio 4 Bundled Content
Company Instrument Approx Size (MB) Web Address
ArtVista Best Service Best Service Best Service Best Service Best Service Best Service Digital SoundWorks Jim Corrigan Jim Corrigan Larry Seyer Digital Notre Dame de Budapest Project SAM SampleDaddy Sampletekk SONiVOX SONiVOX SONiVOX SONiVOX SONiVOX SONiVOX SONiVOX SONiVOX SONiVOX SONiVOX SONiVOX SONiVOX SONiVOX SONiVOX SONiVOX SONiVOX SONiVOX SONiVOX SONiVOX SONiVOX SONiVOX SONiVOX SONiVOX SONiVOX SONiVOX TASCAM TASCAM TASCAM TASCAM TASCAM Wavelore Wavelore Wavelore Westgate Studios Total:
Malmsjo GVI (90-day demo) Artist Drums demo CCC Celli Section Classical Choir morph ooh-ahh EthnoWorld demos String Essentials demos Total Piano demos Taos Drum MW adds alt mics Koto Mandolin with Bouzouki POWERkits demo instrument NDB Pipe Organs True Strike 1 & 2 demo Tokyo Seoul GVI (30-day demo) Recorder and Snare Acoustic Bass Acoustic Guitar Afro-cuban Percussion Alto Saxophone Electric Piano Electro kits Ensemble Brass Legato Ensemble Strings Legato Ensemble Woodwinds Legato Fender PBass Finger & slap FM Piano Harmon Mute Trumpet Harpsichord Jazz & Rock Organ Jazz Guitar Mixed Chior Aahs Orchestral Percussion PRS Guitar Silly Whistles Solo French Horn Solo Piccolo Studio kits Synth Basses Synth Leads Synth Pads Continuous Velocity Piano GigaEditor tutorial files GigaPiano II GigaPulse convolution content GigaViolin Mini American Zither GVI demo Brush kit and shakers GVI Pedal Steel GVI demo True legato Flue and Oboe

595 571

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757 16195

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License agreement:

The samples and software contained in this library are licensed to you for use in music, multimedia and film productions only. Only the purchaser of this CD is authorized to use the sounds. Unauthorized copying, reproduction (including conversion and reproduction in other data formats)hire, rental, public performance, broadcasting and distribution is expressly prohibited. best service constantly monitors other soundware releases to check for copyright infringements, and will prosecute all piracy and copyright violations to the fullest extent of the law. All rights by best service.

Recording Engineers:

Tadeusz Mieczkowski, Aneta Falana

Editing:

Aneta Falana, Julita Emanuilow, Marta Lizak
Concept & Kontakt Programming:

Peter Siedlaczek

Performed by
S.L.O.W. (Symphonic Lab. Orchestra, Warsaw)

Recorded at

S2 Studio, Polish Radio, Warsaw.

Special thanks to:

Torsten Kamps, Prof. Andrzej Lupa, Trevor Hurst, Bob Lyng, Tony Clark, Manfred Honetschlger, Tadeusz Mieczkowski, Aneta Falana, Jens Harth, Klaus Kandler, Martin Jann, Franz Schwentner, Graham Reilly and Claudia Schumann.

Dear Friends,

I am happy to introduce you this comprehensive, thought-through and ergonomic virtual string orchestra. It couldnt have been realised earlier, without todays computer and sampler technology. In its carefully programmed patches you will find many innovative solutions, to help achieve your music goals even more quickly. The result is a spontaneous, playful and intuitive handling of the sound material. With unified key switch system and direct, instant access to the all important articulations. Including quintuple alternation switch (Staccato, Quarter Notes) and precise control of the dynamic response of the samples using different MIDI parameters. String Essentials will enable you to focus on the most essential part of your activity - your music - creatively and easily. Just load and play it! New great sounding samples in 5 different lengths, 3 or 4 dynamic levels, runs and natural release samples have been carefully recorded using 3 microphone placements: close (dry), normal and ambient. You choose the best sound for your music. Including Surround ! I did my best to use the power of the worlds leading technology, the Native Instruments Kontakt Sampler down to the last detail. The result is a complex, yet easy-to-use musical instrument. I am sure you will play it with enthusiasm and enjoyment!

Quick Start

Install and authorise String Essentials software (see Kontakt Player Manual). Print the pdf file 1 Play Me First placed in the folder Print it (KSwitch assignment), or display it on the monitor. If you have a 7octave or a second keyboard, put the print above the keys C0 B0. Start the Player doubleclicking on it. Click on the LOAD button and choose the instrument called 1 Play Me First which can be found in the folder Multis. If you experience any difficulties with too little memory, decrease the DFD buffer setting (Options > Preload Buffer Size). If your Mac/PC has 1 GB RAM or less, choose the light version. Press any key(switch) between C0 and B0 to choose a category and (important!) turn slightly the ModWheel and the Pitch Bend to send the appropriate MIDI parameters. To activate the key switches you can also click on the virtual keyboard of the Kontakt Player. Play and enjoy the sounds. Move the ModWheel and the active controllers on the Kontakt Player surface 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. If your MIDI keyboard has only 5 octaves, please use the transpose function to reach the appropriate range. Please note: in the sustained categories (key switches C0, D0 E0) you can either use the ModWheel for crossfading between the dynamics (crescendodecrescendo) or turn it down to 0 to activate the velocity controlled layer switching. If playing Variable Length (KSwitch F0) the sample length can be altered with the knob Tempo (CC23). While playing the legato patch (KSwitch C#0) keep the sustain pedal depressed. If you 4

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 that the DFD utility (Direct From Disc) is installed and activated (see the Kontakt Sampler Manual for further details). String Essentials cannot function properly without DFD utility installed. 2. Since the Kontakt Sampler doesnt have any MIDIcontrollers as the Player does, you have to use an external MIDI device sending MIDI controller data. This is essential for the proper function of the patches. The controller numbers (CC) are from 20 to 24. 3. Before loading the very first patch it is absolutely essential to set the following via the OPTIONS menu: DFD: in the Expert window, under the option Autoload patches in DFD mode whenever possible click on the Kontaktbutton to deactivate it (the but ton must be grey). Engine: Sustain Pedal Mode must be Pedal + MIDI switch. 4. After loading a patch, it is necessary to move slightly all the controller knobs/sliders around their default positions, otherwise the instrument will assume wrong parameter values and will not function properly. The controllers are: Pitch Wheel, Mod Wheel and CC20 to CC24. To learn more about the parameters and their default values see below.
5. If the patch you have loaded uses key switches (most of them do), it is necessary to press one before you play. 6. You can also instal the player in parallel to your sampler and use it alternately. Please note: you do not need to follow the above if you use the original String Essentials software (the Player).
disk load reduced. Default: 127 (fully cw). CC23 (Tempo or Length) if applicable, controls the portamento or run tempo, or in the patch Variable Length the note length. Default: 64 (50%, middle position). CC24 (Accent) applicable always when the patch Staccato is loaded. Controls the amount of accent by adding staccato to any other articulation. Default: 0. The virtual knobs on the Kontakt Player GUI are already assigned to above parameters and can be operated by the mouse. For the Kontakt Sampler an external MIDI controller is obligatory. For more convenience it is also recommended for the Kontakt Player. It is also possible to use a virtual keyboard software (some of them are freeware) controlled by the computer keyboard.

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 24). 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 DE) 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. Default: 0. Pitch Bend if applicable, controls parameters like glissando, portamento depth or run start shift. Default: 0. CC20 (Expression) if applicable, controls 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. Default: 0 CC21 (Attack) if applicable, emphasises the bow stroke (attack) at the very beginning of the sample. Default: 0. CC22 (Release) controls the length of the release trigger samples. If set to 0, the release trigger is deactivated, thus the CPU and hard
General library architecture
The most complex unit of String Essentials is the MultiInstrument 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 A D 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. L 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 fff 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 apart 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. Please note that the light versions of the patch Play me first can be found directly in the folder Multis together with the full versions. Ambient and dry samples are not implemented in the light versions yet.
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
The key switch and controller assignments are:
C Sustained looped samples

Possible modes:

velocity controlled sustains, if ModWheel = 0; 3 layers xfadecontrolled multilayer sustains (crescendo / decrescendo), if ModWheel > 0 4th layer for crescendo climax on release, if ModWheel = 127 (max)

INSTRUMENTS

Instruments consist of a number of categories assigned to different key switches. The key switch range is C0 B0 for Basses and Cellos, C1 B1 for Violas and C1 C#2 for 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.
AutoCrescendo, if Expression = 127 (max); ModWheel controls the time

Assigned controllers:

Expression (CC20); works in velocity mode only Attack (CC21); works in xfade mode only Release time (CC22); zeroposition deactivates the release feature Accent (CC24); works only if staccato loaded

1. MAIN SETUP

(Violins, Violas, Cellos, Basses)
Main Setups include samples of various lengths from looped sustains to quarter 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#.

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 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. 7
Please note that in the cross-fade mode (ModWheel >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 releasefeature 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.

D D# E

Tremolo (looped) Trill (half step, looped) Trill (full step, looped)
The key switches above use a very similar setup like C (looped sustains):
velocity controlled tremolo/trill (ModWheel = 0), 3 layers xfadecontrolled multilayer tremolo/trill (crescendo/decrescendo) if ModWheel > 0
C# Sustained legato + portamento (1 voice only)
Velocitycontrolled multilayer sustains with optimised transitions for legato, 3 layers Portamento (if Pitch Bend is moved out of Its middle position)
Expression (CC20); active in velocity mode only Attack (CC21); active in xfade mode only Release time (CC22); zeroposition deactivates the release feature Accent (CC24); works only if staccato loaded
Pitch Bend; controls the portamento inter val Expression (CC20) Tempo (CC23); controls the portamento speed Accent (CC24); works only if staccato loaded This patch allows smooth transitions between the notes if played overlapped or with sustain pedal depressed. To get the portamento move the Pitch Bend in either direction. The effect meant here is a pitch glide upwards, leading 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 speed. 8

Whole notes

Possible mode:
velocity controlled whole notes (approx. 2 sec.), 3 layers
Expression (CC20) Attack (CC21) Release time (CC22); zeroposition 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 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 untill the end of the sample).

G# Quarter notes

velocity controlled quarter notes, 3 layers

Attack (CC21)

F# Pizzicato
velocity controlled pizzicato with alternation switch (double)
Release time (CC22); zeroposition 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 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 untill the end of the sample).

Half notes

velocity controlled half notes with alternation switch (down and upbow), 3 layers

Staccato

(must be loaded separately unless you use a multi)
velocity controlled staccato samples, quintuple alternation switching, 3 layers
Expression (CC20) Release time (CC22); zeroposition 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 upbow 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 untill the end of the sample).
Attack (CC21) Expression (CC20) Release time (CC22) 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 Expression is the opposite parameter of Attack. 9
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 multiinstrument.

Pitch bend (controls the start shift) Tempo (CC23) ModWheel (controls the volume)
The Runs [] (where [] is the name of a major and parallel minor key) work exactly like the Fast Runs. To learn the details about how to apply them using the startstop feature and ornamentations please refer to the key switch A# / B 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). There are 12 patches one for each major/minor key in the folder Special Patches / Runs 140 for Main Setup. All are assigned to the key switches C2 (downwards) and C#2 (upwards) to fit the key switches of the Main Setup. Please do not use Runs 140 placed in the folder Special Patches unless you use a different MIDI channel and need more major/minor keys. (See also Violins Runs 140 in Special Patches below.)

MULTIS

Multis or Multiinstruments contain 2 or more instruments (patches). Violas, Cellos and Basses consist of the patches Main Setup and Staccato. In the Multi Violins you will also find the Vn Runs 140 in C major (as an example). You can, of course, replace them with runs in any other key according to your needs. The Multi Full Strings [L] (light version only) consists of Full Strings I and Full Strings II. P 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 builtin reverb. Please note that the 11

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 run in Dmajor, the keys D#, F, G#, A# and C
reverbversion replaces the knob Accent with Reverb (CC24). Turning it to 0 deactivates the reverb and reduces the CPU load. For a closer description of the patches including key switches see INSTRUMENTS above. Please note, however, the following exception: Key switch F: Variable length. If the Lengthknob (CC23) is turned to 0, Whole Notes are activated (including release trigger). Turning the knob clockwise switches over to variable length mode (no release trigger, as the note should be sustained untill the sample ends.) For more information about Variable length see Special Patches below.

decrescendo at the end you will soon realise that using (short) release samples are often simply not good enough. You need the much longer, natural decay phase of 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 can hear samples which are approximately 1 sec. long. With the knob Length (or your external controller CC23) you can vary the length between 0.5 and 2 sec. (approximately). The controllers Expression and Attack are also assigned. Please note: 1. Length settings of 0 or 100% can sometimes lead to unwanted side effects. To eliminate them, just increase or decrease the setting slightly.

SPECIAL PATCHES

The folder Special Patches (Instruments > Special Patches) contains some interesting, additional patches which, however, may need some more RAM or CPU power.
2. This patch does not use release trigger, as the samples are intended to be played in their full length. You may use the sustain pedal to ensure that all the samples will be played untill the end.

2. GLISSANDO

Upward glissando

1. VARIABLE LENGTH

velocity controlled notes with adjustable length from approx. 0,5 to 2 sec., 3 layers
Downward glissando (if sustain pedal depressed)
Expression (CC20) (controls the detune feature) Sustain pedal (enables gliss. down)
Length (CC23) Expression (CC20) Attack (CC21)
ModWheel (controls volume)

Key switches: none

Using this patch you can play any glissando up or down to 1 octave. You wont hear any unwanted transposition side effects, as turning the pitch bend up or down transposes the pitch by no
If you need expressively played notes with a kind of crescendo at the beginning and a 12
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 simultaneously 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 outoftuneeffect 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 Expression knob at its zeroposition. 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.)

This somehow experimental patch lets you play multiple down and upbow repetitions of the same note as well as regular sequences in slow or moderate tempos. To ensure seamless legatolike transition between the notes the sustain pedal should be constantly depressed and released just before releasing the key of the last note. The key switch G activates half notes, G# quarter notes (related to 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 upbow 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 is only active for the half notes (key switch G) in legato mode (sustain pedal depressed).

3. REPETITIONS

half and quarter notes with triple and quintuple alternation switch as above legato mode (sustain pedal depressed)
Slope (CC20) Tempo (CC23) (decay shape) Attack (CC21)
Key switches: G Half Notes; G# Quarter Notes

4. VIOLINS RUNS 140

(downwards / upwards) Possible modes:
runs of any length, in any key, approximately BPM, ornamentations

Final Notes

Key switch assignment
The pdf files placed in the folder Print it (KSwitch assignment) show the key switch assignements 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.

Tempo (CC23) ModWheel (controls the volume and direction) Pitch bend (controls the start shift)

MIDI Controller defaults

After loading a patch in the Kontakt Sampler, it is necessary to move slightly all the controller knobs/sliders (Pitch Wheel, Mod Wheel and CC20 to CC24) around their default positions, otherwise the instrument will assume wrong parameter values and will not function properly. To be on the safe side, however, it is also recomended to move the controllers accordingly when using the player software.
Key switches: C1 B1, corresponding to the major key
The patch Violins Runs 140 contains runs in all major/minor keys which can be recalled pressing the appropriate key switch. For example, if you need F major (or d minor), press F1, for G# major (or dminor) press G#1, etc. (while playing, be sure to use only the keys which belong to the major/minor key you have chosen, otherwise you will hear just a single, initial note). To learn the details about the startstop feature and ornamentations please refer to the key switch A# / B in the section Main Setup above. Runs 140 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%) controls the volume of the runs upwards, in the lower half (0 50%) of the runs downwards. p The polyphonic version of the program (poly) enables more complex run structures however, without the stop feature.
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.

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.).
5. Vn Runs for Main Setup (folder)
see Main Setup , key switches C2 / C#2 14
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 (check it out especially if you play live). 2. For moderately fast legato-passages try different mixes of quarter- or half-notes with staccato.

ModWh > 0 CC20(Expr) < 127

CC20(Expr) = 127

PBend = 0 C#0 PBend = 0
ModWh > 0 D0 ModWh = 0
D#0 E0 CC23(Lngth = 0) F0 CC23 (Lngth) > 0 F#0 G0

A#0 B0

** also: "Length"

TABLES

MAIN SETUP, MULTIS
Attack ( C21) Expr. (CC20) Pitch Bend ModWheel
(Violins, Violas, Cellos, Basses, Full Strings)
Release (C22) Accent (C24) Tempo (C23)
Additional condition ModWh = 0 CC20(Expr) < 127
long looped samples, Velocity controlled dynamics, 3 layers (pp, mf, ff)
Velocity on dynamics, CC 20 on Expression (swell) CC22 on release length ModWheel on dynamics (+slight velocity control) CC 21 on Attack CC22 on release length fff on release if MW=127
ModWheel on cresc. Time fff on release if MW=127 CC22 on release length
long looped samples, ModWh. Controlled dynamics (x-fade), 3+1 layers (pp, mf, ff+short fff)
Auto-crescendo, 3+1 layers, (pp, mf, ff +short fff)

* * * * *

PBend = 0 C# PBend = 0
long looped samples, velocity controlled dynamics, 3 layers ( pp, mf, ff ) 1 voice only (legato) See above + PitchBend-controlled Portamento, 3 layers (pp, mf, ff)
ModWheel controlled long looped Tremolo, 3 layers (pp, mf, ff) Velocity controlled long looped Tremolo, 3 layers (pp, mf, ff)
Velocity on dynamics, CC 20 on Expression (swell) CC22 on release length SusPedal on forced legato See above + PBend on Porta Start Pitch CC23 (Tempo) on Porta Time
ModWheel on cresc./dim CC21 on Attack CC22 on release length Velocity on dynamics CC20 on Expression (swell) CC21 on Attack CC22 on release length see Tremolo (key switch D) see Tremolo (key switch D)

ModWh > 0 D ModWh = 0

Half-step Trill

Whole-step Trill

F F# G
Whole notes, velocity controlled dynamics, 3 layers (pp, mf, ff) Pizzicato, double sw.
CC20 on Expression (swell) CC21 on Attack CC22 on release length

CC22 on release length

MW < 127
Half notes, double sw., velocity controlled dynamics, 3 layers (pp, mf, ff)
Quarter notes, velocity controlled dynamics, 3 layers (pp, mf, ff ) Staccato (if loaded), quintuple switch, velocity controlled dynamics, 3 layers (pp, mf, ff)

CC20 on Expression (swell) CC22 on release length
CC21 on Attack CC22 on release length CC20 (Exp) on "smooth attack" CC21 on Attack CC22 on decay & release length

A MW = 127 A# B

Vn: Staccato + Falls

as above (Violins only)

PBend on run start shift (Ornamentations) ModWheel on Volume Run stop on second key CC23 on Tempo
Fast Runs down (Violins only) Fast Runs up (Violins only)
C2 + C#2: violins only, reserved for "Vn Runs [key]"
Controller assignment: see A# / B

* ) with Staccato loaded

VIOLINS RUNS 140
active parameters Release (CC22)

Additional condition

Accent (CC24)

Attack ( CC21)

Expr. (CC20)

Tempo (CC23)

Pitch Bend

ModWheel

(corresponds to the major key)

ModWh 64 - 127

Runs up 140 bpm
Velocity on Volume ModWh. on Volume PBend on Run Shift CC23 on Tempo Run stop on second key Velocity on Volume ModWh. on Volume PBend on Run Shift CC23 on Tempo Run stop on second key

ModWh 0 - 63

Runs down 140 bpm

GLISSANDO

Detune (CC20)
PitchBend 64 - 127 none PitchBend 63 - 0 + SusPedal depressed !

Gissando up

Velocity on Volume ModWh. On Volume PitchBend on Glissando CC20 on detune feature Velocity on Volume, ModWh. On Volume PitchBend on Glissando CC20 on detune feature

Glissando down

REPETITIONS
Mono mode (legato) if SusPed. depressed Mono mode (legato) if SusPed. depressed
Half notes with triple alternation switch, poly or mono (legato)
Velocity on Vol. (3 layers) CC20 (Expr) on Slope CC21: Attack CC23 (Tempo) on decay shape SusPedal on legato mode Velocity on Vol. (3 layers) CC20 (Expr) on Slope CC21: Attack CC23 (Tempo) on decay shape SusPedal on legato mode
Quarter notes with quintuple alternation switch, poly or mono (legato)

VARIABLE LENGTH

Length (CC23)
Samples with adjustable length (0.5 to 2 sec. approximately)
Velocity on Volume (3 layers) CC23 (Tempo) on length

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