Broadway Big Band - Kontakt Edition - Manual v1.02a

Broadway Big Band – Kontakt Edition Manual v1.02a THIS DOCUMENT INCLUDES VIDEO SCREEN-SHOTS AND IS BEST VIEWED WITH ADOBE ACROBAT 9 OR NEWER.

Chapter 1: Introduction

Thank you for purchasing Broadway Big Band – Kontakt Edition! Congratulations. We are confident that Broadway Big Band – Kontakt Edition will change the way you look at contemporary midi orchestrations, and that it will change your workflow forever. The Broadway Big Band – Kontakt Edition package, like its predecessor (Broadway Big Band) includes nearly 100GBs of multi-sampled audio content and a package of its accompanying software programs. In order to achieve the desired level of realism with the various sampled instruments, without sacrificing the efficient and intuitive workflow, we have come up with some new concepts that we believe you will find both helpful and easy to use and understand. This Manual will introduce these concepts to you and will guide you through the technical steps of installing and using Broadway Big Band and Broadway Performer, and will offer various tips about how to get the most out of this powerful and inspiring virtual instrument package, and will hopefully provide you with a quick and easy learning curve.

If you are cross grading from Broadway Big band, or are familiar with the HALion powered version of Broadway Big Band, you will find that Broadway Big Band – Kontakt Edition substantially simplifies your workflow and makes it faster and easier. You should still read through the manual, as many new features have been added, and the entire software side of it has been completely revamped and improved. There is also much improved documentation of the various key switches and articulations.

AND HERE IS AN IMPORTANT NOTE: Most of you are very experienced users of midi sequencers samplers and virtual instruments and tend to "learn as you go" and not follow manuals. We urge you: PLEASE READ AND FOLLOW THIS MANUAL! There are a few very unusual elements in Broadway Big Band that affect setup and workflow. If you don't follow this manual you are very likely to run into problems! Take the time, read and follow. It will be worth it and will save you time in the long run.

From all of us at Fable Sounds, Good luck and congratulations!

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Chapter 2: Installation and registration

1) Registration First, you need to register your product. ◦ Go to: www.fablesounds.com/register ◦ Click the "New user registration" link and follow the on-screen instructions. ◦ Click the ”Register product" link and follow the on-screen instructions. You will be asked to enter the serial number that's printed at the bottom right corner of the quick-start guide page, included in the product box. At the end of the process, the system will send you the activation serial number that you will use in step 5. *** If you are registering a cross-grade product you must register your previous (HALion) version first. ***

2) Installation: Put the software installation CD in your CD/DVD drive and run the installer. When prompted to select a folder for the library, you should select a folder on a large enough hard-drive to accommodate the 100GB of the audio content of Broadway Big Band, and fast enough to stream audio from.

3) Copying the audio content to your hard-drive: After running the installer, you need to copy the contents of all the 14 DVDs, all into the "SAMPLES" folder that resides inside the "Broadway Big Band – Kontakt Edition" library folder.

4) Add library: After all files have been copied to the "Samples" folder, open KONTAKT 4 or KONTAKT 4 Player, go to the "Library" tab, and click the "Add library" button. You will be prompted to browse for the library folder. You should select the "Broadway Big Band – Kontakt Edition" library folder.

5) Activation: In the “Libraries” tab you will see Broadway Big Band listed with an “Activate” button right by it. Click the “Activate” button. This will launch the Native Instruments Service Center. You will be asked to enter the activation serial number that you received by email from the Fable Sounds registration system. After that, you will have to restart Kontakt or Kontakt Player before you can open Broadway Big Band instruments without restrictions. 6)

After registering, you will periodically receive automated email messages with software updates. Make sure to download and install those updates!

Chapter 3: Loading instruments If you are familiar with Kontakt powered instruments you can skip this chapter. 1)

Go to the “Library” tab. “Broadway Big Band” should be listed.

2)

Click on the gray “Browse” button on the “Broadway Big Band” banner.

3)

In the “Instruments” folder there are 3 folders: “Brass”, “Reeds”, and “Rhythm Section” In each of these folder you will find sub-folders representing each of the instruments of these sections. Browse to the instrument you wish to load. Inside the instrument-specific folder, you will find several versions of that instrument. For Legato instruments, you will find legato versions and polyphonic versions. For all instruments (with the exception of the drum-kits) you will find several different microphone setups to choose from. (more on that in chapter 8)

4)

To load an instrument, just double-click it, or drag-and-drop it into the instrument interface area.

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Chapter 4 – Polyphonic vs. Legato Instruments Broadway Big Band includes both polyphonic and legato instruments for use in your recording sessions. However each one has certain advantages and drawbacks which make the use of one or the other more beneficial in certain given situations. Legato Instruments: The advantage of using the legato instruments is in the added realism that is achieved by the real pre-recorded note transitions. The legato instruments include real pre-recorded note transitions such as legatos and glissandos which make the performance much more realistic and convincing. However, it only allows you to play one note at a time (just as with a real wind instrument.) In order to take advantage of the real prerecorded note transitions (i.e., legato intervals etc.) you should overlap notes. Play the next note before releasing the current one, and the sample of the interval between the current note and the note will be played. If you do continue holding the current note even after releasing the next, the Broadway Performer will play the interval back to the current note. This technique is very useful if you want to play a trill or a tremolo between two notes. *Trills with Broadway Big Band legato instrument : With very few exceptions, the legato intervals in Broadway Big Band were recorded with a fast enough note transition to play trills with. To make it even easier to play trills, if you hold a note you can trill from it and back by keeping that note pressed, while playing a series of short notes on the note you want to trill to. This makes it a lot more similar to how wind players play a trill, and makes it much easier to play, not having to re-trigger the original note every time.

Polyphonic Instruments: The polyphonic version of the instruments is more desirable for live performance situations in which realism is secondary and the impact of playing multiple notes simultaneously (i.e., chords) is desired, or in the sketching stage in which you may want to be able to play the entire harmony in one pass, instead of playing each voice separately. Some of the instruments include polyphonic and simulated legato versions only. For those instruments, real prerecorded note-transitions were not recorded. For example, in the case of 2nd Trumpet, 2nd Alto Saxophone, and 2nd Tenor Saxophone, the instruments are generally there as overlay instruments, mostly to be used in case you need the section to play in unison. (Even so, they usually do sound good enough to be used as secondary instruments throughout the arrangement.) While the polyphonic instruments do not include real prerecorded note transitions, they do work with the virtual keyswitch system in exactly the same way as the legato instruments, and most of them offer a simulated legato mode, which enables a fairly convincing way of playing melodic legato lines easily. Polyphonic versions of legato instruments: Those are derived from the original legato instruments, but require far less RAM, as none of the interval samples is included. That said, these polyphonic versions of legato instruments include all of the non-legato articulations, as well as the “Legato-Prima” repetition samples which can be reached by using the sustain pedal or the virtual sustain pedal key-switch. *(more on that in chapter 5).

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Chapter 5: Articulation key-switching in Broadway Big Band Broadway Big Band offers a very wide variety of articulations for its main instruments, all of which are always readily available for real-time use via what we call “virtual key-switching”. This chapter will explain the unique (patent-pending) key-switching system introduced in Broadway Big Band and Broadway Big Band – Kontakt Edition, that employs the concepts of multidimensional state-machines, temporary articulations, and systematic key-combinations. If you are cross-grading from Broadway Big Band, you are already at least somewhat familiar with this subject, however, this chapter has been much simplified compared to the old manual and this new approach to explaining the system might shed more light on it and may help adding clarity to your understanding of the system. Traditional key-switches are merely patch selectors, pressed before playing the notes that need to be affected. There are several problems with that traditional approach when trying to implement it for a virtual instrument such as Broadway Big Band. The first problem is that following that traditional method, it will take nearly half of the midi keyboard only to provide for all of the articulations of the main trumpet, which will not leave enough keys for the playable range, and it will be incredibly difficult to memorize the location for the numerous articulations. The other problem is that traditional key-switches require you to press a new key switch for each articulation change, even if you only need to go back and forth from a regular sustain articulation to a staccato articulation for example. That is quite annoying, and can become completely prohibitive for real-time applications in arrangements that involve rapid articulation changes. Another disadvantage of traditional key-switching, is that once a note has been played, it can't be affected by further key-switching, so if for example, you want to play a fall articulation at the end of a sustained note, traditional key-switching simply doesn't cut it. So in order to enable intuitive and musical real-time access to all of the articulations of an instrument, to fit all keyswitches in an ergonomic manner (no more than an octave and a half of key-switch area on the keyboard) and enable easy and rapid dynamic and fluid articulation changes, we developed our virtual key-switch system. Our system includes a few different types of key-switches, characterized by several different types of behavior. Some change the instrument's playing state, some trigger special articulations, and some offer extended variation of music articulations through key-combinations. Each of these types is color coded on the virtual keyboard. The multidimensional state-machine: What is a multidimensional state-machine? When you choose to play with a certain type of vibrato or another, or maybe with no vibrato at all, you change the playing state of the instrument in one dimension: Vibrato. When you want to play with flutter-tonguing or growling, or without those effects, you're dealing with another dimension of the instrument. What if you want to play with plunger effects or without them? That's another dimension of the instrument. And choosing the type of plunger pattern is another dimension. Each of these choices while residing on a separate dimension of the instrument, can be selected without affecting the other, and the combination of choices on multiple dimensions create new combined states. If for example, you turn on the flutter-tonguing state, while already being in plunger-pattern state, you get a selection of plunger effects with flutter-tonguing, and if flutter-tonguing is on, when you hit the key-switch associated with a “Fall” articulation, it will trigger a “fall with flutter-tonguing” articulation. The ability to not just select the technical patch with the sampled articulation in a technical manner, but rather make your selection in an intuitive and musical manner, while each musical element has its own independent control makes it both easier to use, and far more efficient in keyboard real-estate, because in each playing state, the meaning of a key-switch can change and musically lead to a different result than it would have lead to in a different playing state. This is a very important concept to understand. Each key-switch can be designated several different functions, that change and adjust based on active playing states in the various dimensions of the instrument and the musical context. To avoid confusion about the combined playing state, the main tab of the instruments' interface is the “Virtual Keyswitch Monitor”, which offers visual monitoring of the playing states in all of the instruments dimensions. More on that in chapter 7.

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Temporary Articulations: One other original concept first introduced to virtual instruments by Broadway Big Band, is bi-directional key-switches; key-switches intended for special articulations that are only needed for a moment, temporarily, and not as an articulation to play entire melodies in. (Falls, shakes, etc...) Traditional key switches affect all the notes played after them. If you want to go back to playing with sustain samples after playing an effect, using traditional key switches you will have to press the effect key, play the effect note, then quickly press the sustain key-switch again (and you'd better remember which vibrato type you were using prior to switching to the effect) and only then can you play the rest of the melody. With quick passages this is simply impractical. Bi-Directional key-switches make the whole thing much easier, because notes are only being affected by them while they're pressed and held down. Once a Bi-Directional key-switch is released, the instrument goes back to playing in its active playing state, remembering the type of vibrato last used and whether or not plunger or flutter where activated. This makes it much easier to perform even very complicated phrases flawlessly and in real-time. Active Key-switches (“From sustain”): This is yet another concept, first introduced to virtual instruments by Broadway Big band. These key-switches, typically using the same physical keys as non-active key-switches of a similar articulation, affect notes that are already being played, and actively trigger samples of articulations that were recorded as “from sustain”. For example, if you press and hold (F#0) and then play a note, the note will be played with a “Fall” articulation. If you on the other hand, play a sustained note and then, while still holding the note, you click the same (F#0) key-switch, a “Fall from sustain” sample will be instantaneously triggered, causing the sustained note to end with a fall. This would be an “Active Temporary Articulation”. Another example: if you click the (F0) key-switch and then play a note, the note will play with flutter-tonguing effect, played with a soft attack and a mild crescendo, and if you played a note (without flutter-tonguing) and clicked the same (F0) key-switch while still holding the note, the note will intently cross-fade and change from a clean sustained note to a note with a flutter tonguing effect. This would be an “Active Change of Playing State”. There is also one unique key-switch available for the “Tenor-Saxophone 1” instrument, which actively changes articulations both when being pressed and when being released. Its articulation is “Alternate Fingering” and you can go back and forth on the fly between standard fingering and alternate fingering, just by pressing that key-switch and releasing it. This would be “Bi-Directionally Active Temporary articulation”. Key-Switch Combinations: This is a simple concept borrowed from the all familiar computer keyboard. We all use it all the time. If we want a dollar sign, we hold the SHIFT button and click the number “4”. If we want to save a document we hold the OPTION button or CTRL button and click “S”. This enables us to use the same keys we already have in our standard keyboard and add much additional functionality without requiring much more keyboard real-estate or many additional keys. Both Broadway Big Band and Broadway Big Band – Kontakt Edition are using this concept of key-switch combinations to achieve the same goal. Extended functionality from as little as possible keyboard real-estate, and keeping is as simple and intuitive as possible. In Broadway Big Band there are 4 such keys: (C#0), (D#0), (A0) and (B0). (A0) and (B0) are strictly “SHIFT” keys, and (C#0) and (D#0) double as Temporary articulation key-switches and as OPTION keys; (C#0) is both “OPTION-KEY1” and “STACCATISSIMO”, and (D#0) is both “OPTION-KEY2” and “STACCATO”. When holding any of these shift or option keys while pressing other articulation keys, the combination offers a variation on that original articulation. For example: (F#0) is “Fall down”. Pressing (F#0) while holding “OPTION-KEY2” (D#0), will result with a “Fall Up (doit)” articulation. Same (F#0) press while “OPTION-KEY1” (C#0) is held, and the combination will result in playing a “Glide Down” articulation. Hold both (C#0) and (D#0) and press the same (F#0) key-switch, and the combination will result in playing a “Fall Down- Slow” articulation. Repetition and the “virtual sustain pedal”: The (C0) Temporary key-switch is the “Virtual Sustain Pedal”. If you have an actual sustain pedal you can use it instead or in addition. It is there to enable two things: Repetition (legato into the same note), and automatically keeping a phrase played in legato, when it is too difficult to keep overlapping notes. This is especially relevant in case of very fast musical phrases or when there are wide gaps between notes, that prohibit a continuous overlapping legato playing. A detailed list of articulations and their respective virtual key-switches is available in chapter 9

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Chapter 6: Editing Key-Switch actions in the sequencer While it is possible to play the entire range of key switches in real-time, it is also possible to change, add, or remove virtual key-switch events after the fact. To do this you must do the following: Select the MIDI track you want to edit virtual key-switch events in. Open the piano-roll editor for the selected MIDI track in your sequencer. Key-switch events will appear as note events below the playable range of the instrument. Key-switch events for passive virtual key-switching should appear either slightly before the notes they affect or exactly aligned with them. Key-switch events for active key-switching function much like note events, so they should be placed where you want the active key-switching to occur since active key-switches affect currently played notes. They are placed after the beginning point of the note they affect and before its ending point. The ending point of a note may be extended (vs. the ending point appearing on the timeline) by using the sustain pedal (or the virtual sustain pedal key-switch.) In such a case, the extended duration of the note and not the shorter appearance on the timeline, is the one to consider.

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Chapter 7 – The Interface The instruments in Broadway Big Band – Kontakt Edition have up to 4 tabs each. Not all instruments have all 4, but you should be familiar with these tabs and understand how to use them. Virtual Key-Switch Monitor: After reading Chapter 4, hopefully this one is rather self explanatory for the most part. However, here is an explanation of both the obvious and the somewhat less obvious parts.

The Key Switch Monitor offers a visual representation of the multidimensional playing state and any active temporary articulation. It is possible to press the playing state buttons with the mouse, and change articulations that way, however, that would not be recorded into your midi sequencer, so it is always better to use your midi keyboard for all keyswitching. When a certain playing state is active, the correlating button lights up (as seen in the above scree-shot). When a temporary articulation is active, the name of the temporary articulation appears in the “Temporary Articulations” box at the bottom right. Velocity mode switching: On the left side, you may notice a column titled “Velocity” with two options: “Kbd + Midi CC” and “Midi CC Only”. Those are key-switchable from the midi keyboard using (B-1) for the “Kbd + Midi CC” playing state, and (A-1) for the “Midi CC Only” playing state option. Most of the instruments in the Broadway Big Band – Kontakt Edition offer this option. By default, Broadway Big Band instruments respond to Keyboard velocity, and yet while holding a sustained note, the instrument also responds to the modulation wheel (or any other midi controller you choose to assign to it) creating smooth modulation-wheel driven crescendos and decrescendos. Using the new feature, you can click the (A-1) key-switch and going into “Midi CC Only” mode, the instrument will bypass and ignore the keyboard velocity and will only consider the modulation wheel (or any other Midi CC of your choice) in deciding the velocity of the notes played. Clicking the (B-1) key-switch will bring you back to the default state in which both the midi keyboard velocity and the midi controller are considered.

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Alternates tab: This tab is mostly for advanced users who want ultimate control over the cycles of alternate samples. That said, you should always use this tab when mixing multiple microphone setups of the same instruments that need to remain in sync with one another. After loading a second microphone setup, click the “Reset Cycles” button on both versions of the instrument (without playing any notes in the middle of the process). The alternate cycles of the two versions will then be aligned. Now for the more advanced uses of this tab: Broadway Big Band has a unique patent-pending way of handling alternate samples(AKA "Round robin" ). Alternate samples are multiple recorded versions of the same note of the same articulation and same dynamic level, which are intended to be played consecutively one after the other in case of repeating notes, in order to avoid the "Machine-gun effect" which is the very unconvincing sound of the same exact sample played repeatedly. Most of the modern virtual samplers support that feature, however the way in which it is implemented is radically different. Most samplers offer a single cycle for alternate-samples (AKA "Round robin" ) so that each note played moves the cycle one step forward. This method presents two main problems. The number of alternate takes must be consistent throughout the entire instrument, whether it makes sense or not. In case of for example two alternate takes, when you play a trill, because of the way it is managed, the entire idea of alternate samples is rendered useless, as each time each of the trilling notes is played, it triggers the same take of each of them. The way it is done in Broadway Big Band is fundamentally different. There are individual and separate cycles of alternate samples for each note of each articulation in each dynamic level, allowing inconsistency of the number of alternate samples between the different notes articulations and dynamic levels, and also, as a result, the script moves each cycle separately, only when the same note of the same articulation and dynamic level is repeated. The result is a completely life-like performance which sounds slightly different every time you play it… Just like what you get when using real live musicians on a recording session. This is very refreshing; However, sometimes you will want to lock performance, just like you do when recording a good take of a live musician. This is what the “Alternates” tab is for. In this tab there are 20 snapshot buttons. When you click “Store” and then click one of the 20 snapshot buttons, a snapshot of all alternate cycles of the relevant instrument is stored in that button.

Now can be recalled at any time, by either clicking the button again at any time, or (and this is the more useful and practical way), in order to automatically recall an alternate cycle snapshot for an instrument, go to your midi sequencers' piano-roll editor or any other editing window that allows step-time entries and add a short note at (C-1) , just like you would have added a key switch right before a note, giving it the velocity value identical to the number on the snapshot button you want to automatically recall. For example, if you want to recall snapshot number 3, add a short note in the sequencer at (C-1) with a velocity value of 3. To learn more about editing key-switches in the sequencer's piano roll please refer to chapter 6.

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Dump / Reload – tab: Some of the more RAM intensive instruments in the Broadway Big Band collection, now offer a “Dump / Reload” tab. Let's say there's just no way you're using plunger effects or chromatic runs in the song you're currently working on. Why have all these samples loaded and take up RAM when you don't use them? Now you can go to the Dump / Reload tab, select the articulations you do not use, and click the “Dump/Reload selected articulations” button. The unneeded articulations will be purged from the computer's memory, and when you save the song you will save it like that, so next time you load that song it will automatically load with only the relevant articulations. Best of all, if next week you get back to that same song and decide to change your mind, it's not too late. Just select the articulation you want to use again, and click the “Dump/Reload selected articulation” button. The articulation will be loaded back to the instrument.

Options – tab: In the options tab you can change the midi controllers used. The default controllers are the modulation wheel (1) and the volume pedal (7). You can change those by either changing the numeric value, or use the “learn” function, by clicking the “learn” button and then move the midi controller you want to use. There is also a “Legacy Mode” button. It was put there to help porting projects from the HALion powered version, so that they would play correctly in spite of some of the programing changes. “Legacy Mode” is not yet fully functional, and we suggest you do not rely on it for now.

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Chapter 8 – Drums There are a few things you should know about the drum kits in Broadway Big Band, if you want to get the most out of them. These are just a few concepts that aren't obvious, and that are not found in most other sampled drums. Concept: The drums in Broadway Big Band were recorded with a no-compromise attitude. While the most important secret weapon was the drummer (Tim Newton), it seems that all the elements came together in a perfect way. The room, the old Neav board, and the amaizing recording engineer. We recorded it all with 25 microphones and onto 36 multi-track channels at 24bit/192Khz. Problem was that we ended up with so much multi-track content, that the scope of a virtual instrument that Drum kits are not its main focus prohibited us from including it all. Instead, we decided to do a “sweetspot” stereo mix-down and a 24bit/44.1Khz down-conversion, to reduce it to a more manageable size. Multi-channel output That said, for mixing convenience, we offer “(multi)” versions of the kits in which the different parts of the kit are sent to 5 separate stereophonic outputs, starting at “stereo2”. The kits are separated to: • • • • •

Kick drum Snare drum Hi-Hat Toms Cymbals

In order to take advantage of the multi-output versions of the drum kits in the stand-alone mode, you will have to add more output channels in Kontakt and assign them to actual outputs. When used as a plug-in, you will have to use a version of the plugin that offers enough outputs to accommodate the output configuration and enable and/or activate those channels in your host mixer. Mapping concept: To accommodate the numerous articulations and left-hand/right-hand variations in an intuitive as possible manner, we decided to adopt a mapping concept that imitates the shape of physical drums, known as “Mirroring”. The idea is simple. A group of keys is designated to a single drum or a cymbal, and the right-hand and left-hand versions of the articulations correlates with the physical instrument, so the outer edges of the group of keys would play samples recorded playing on the outer edges of the instrument, and the closer to the center of the group of keys, the closer to the center of the physical instrument it gets. Since a midi keyboard has a pattern of white keys and black keys, and the black keys are physically higher than the white keys, this is used to make the mapping yet more intuitive. For example, “Rim” samples of snare and toms are mapped on black keys exclusively, and so as “Bell” samples of cymbals. To keep the overall mapping somewhat compatible with industry standards, we placed the kick drum at the bottom of the keyboard, the many keys designated to the snare, right above that, then the several keys of the closed high-hat, then open high-hat, floor drum, rack-toms, and then the cymbals. The main kit (played with sticks) is taking up 86 of the 88 keys of the keyboard. The Brush-kit uses a bit less. Choking Cymbals: Cymbals tend to have very long sustaining sound, both in real life and when sampled. Some just fade them out. We took a different approach, but there's no doubt that sometime they have to be stopped. Being that we're trying to emulate the real thing, we decided to do what drummers do when they want to stop their cymbals. Chock them. One unusual feature of the Broadway Big Band drum kits, is the ability to chock cymbals, much like it's done in real life. One of the keys designated to each of the cymbals (the ones we recorded that articulation for) has a sample mapped to it, of just the chocking of an already sustaining cymbal. It sounds much like a release note and is not really meant to be played by itself. Just like with release samples (the ones that are automatically played when you release the key that is playing a sustain note, and add the natural ending of a note and its slight reverberation in the room), it is when used in context of ending a sustained note, that the real magic happens.

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Hi-Hat as a legato instrument: One of the most irritating problems with most sampled Hi-Hats is how fake sounds the transition between an open Hi-Hat and a closed Hi-Hat, or how confusing it is even when there is a “stomp” sound, mapped to a different key, and yet how still fake the overall sounds. In reality, there is a huge difference between how a “stomp” sounds, and how an open hi-hat that had just been hit, sounds when it is closed. Even more importantly, most drummers don't just close the high-hat but rather also hit it again once it's closed. Being that we were already dealing with extensive legato sampling, we decided to figure out a better way to tackle that issue, and decided to treat the Hi-Hat as a legato instrument. We recorded all the transitions (with and without hits, different speeds, etc...) and programmed it to respond and activate the various legato transitions based on timing. That is why you can see a little box on the drum-kit interfaces, in which you can define how long after you hit the Hi-Hat when it's open, Broadway Big Band will consider hitting a closed Hi-Hat articulation as a related note, to be played as a legato interval. The default is 2500 milliseconds, and it should work for most scenarios, but the control is there in case you want to make any adjustments.

Chapter 9 – Strumming The Banjo and the Ukulele instruments in the Broadway Big Band collection now offer a strumming script that enables you to hold the notes that you want to make a chord with, and then strum up and down in various articulation types, using active key-switches. This strumming mode can be activated or deactivated via key-switching. With strumming mode turned on, the process is a little bit like playing a real pluck instrument, in the sense that you're holding the notes with one hand (which makes no sound in itself), and then strum with the other hand, up or down, muted or open, etc... Just hold the notes of the chord with your right hand, and use the strumming key switches with your left hand to actually play the notes you are holding.

With strumming turned off, you can play all of the notes and articulations freely, and the script will automatically alternate between up-stroke and down-stroke playing, unless you're playing a chord, in which case the plucking direction will remain the same throughout the playing of that chord. On the Key-switch monitor tab of these instrument you can also adjust the minimum and maximum duration of the automatic strumming. In strumming mode, the script automatically strums faster to louder velocities and slower to softer velocities. A detailed list of key-switches can be found in chapter 11.

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Chapter 10: Choosing and loading Microphone setups Introduction: In music production, using live session players in a recording studio you would typically try to choose your microphones, preamplifiers and microphone positions based on the genre and style of your production. We feel you should have this kind of choice when working with samples as well. As a result, aside from the drum-sets all of the instruments included in Broadway Big Band, were recorded and delivered with several different microphones applying various recoding styles and techniques, capturing each of the single-note performances in multiple different ways. Now you can choose and load the microphone selection that best feet you current production.

Microphone setups for Trumpet: Mic1: Close Mic A Large capsule condenser tube microphone (149). This microphone setup is relatively close and offers a fairly dry and focused sound, but it is still far enough to let the instrument breathe and the sound to fully develop, allowing some of the room reflections to be included, adding brightness and size. Mic2: Tight mic (Small Capsule) This microphone setup is very close to the instrument, and it delivers a super dry sound with almost no room reflections. Creates a very dry and "personal" feel. Also great with the muted instruments for a supper-cool jazzy sound. Mic3: Loose mic A Large capsule condenser microphone (U87) This Microphone setup is still fairly close to the instrument, but simulates the studio micing style typical for a large ensemble such as a large big-band. Using a vintage tube preamplifier, it delivers warm and rounded yet powerful sound, and due to the relative distance from the instrument, it includes significantly more room reflections than the two close microphone setups. This setup delivers a "bigger" sound image than the close microphone setups, as the sound tends to acoustically buildup in the air, and with the added room reflections you get a "Fatter" sound. This Microphone setup is very useful especially for jazz-oriented pieces, and if you want to "glue" the instruments together, making them sound as if they were recorded as an ensemble, sharing microphones in a single room. This is also a good option if you want a soloist sound that needs to be incorporated in a symphonic arrangement. Mic 4: Room Mic A Large capsule condenser microphone (U87) Positioned high above the instrument, near the high ceiling of the studio, this microphone setup includes a lot of room reflections, yet it is still aimed at the instrument and not from very far away so you still get a direct signal from the instrument, but it is well-blended with the room reflections. The height of the microphone helps it in ignoring the acoustical gobos that are altering the acoustical characteristics of the other microphones, letting the entire large liveroom to be heard. This Microphone setup can be used as a natural reverb, when combined with any of the other microphone setups, or could be used by itself when a softer wide-and-far sound is desired. This is also very useful if you want to include any of the Broadway Big Band instruments in a symphonic arrangement, and make it blend with the rest of the symphonic ensemble. MIC 5 – Ribbon MIC A small Ribbon microphone in tight positioning. Very vivid and natural sound. Almost no room reflections. Great for R&B as well as for hot and dry Latin brass section sound. When combined with microphone 4, you get the awesome typical Latin sound. MIC 6 – "PA MIC" This is a popular dynamic microphone that is often used in live-show situations and will blend very well with live instruments when using Broadway Big band in live-shows where a similar microphone is being used to pick-up the other instruments of the ensemble.

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Microphone setups for Trombone: Mic1: Close Mic A small Ribbon microphone, setup is relatively close and offers a fairly dry and focused sound, but it is still far enough to let the instrument breathe and the sound to fully develop, allowing some of the room reflections to be included, adding brightness and size. Mic2: Tight mic (Small Caplsule) This microphone setup is very close to the instrument, and it delivers a super dry sound with almost no room reflections. Creates a very dry and "personal" feel. Also great with the muted instruments for a supper-cool jazzy sound. Mic3: Loose mic A Large capsule condenser microphone (U87) This Microphone setup is still fairly close to the instrument, but simulates the studio micing style typical for a large ensemble such as a large big-band. Using a vintage tube preamplifier, it delivers warm and rounded yet powerful sound, and due to the relative distance from the instrument, it includes significantly more room reflections than the two close microphone setups. This setup delivers a "bigger" sound image than the close microphone setups, as the sound tends to acoustically buildup in the air, and with the added room reflections you get a "Fatter" sound. This Microphone setup is very useful especially for jazz-oriented pieces, and if you want to "glue" the instruments together, making them sound as if they were recorded as an ensemble, sharing microphones in a single room. This is also a good option if you want a soloist sound that needs to be incorporated in a symphonic arrangement. Mic 4: Room Mic A Large capsule condenser microphone (U87) Positioned high above the instrument, near the high ceiling of the studio, this microphone setup includes a lot of room reflections, yet it is still aimed at the instrument and not from very far away so you still get a direct signal from the instrument, but it is well-blended with the room reflections. The height of the microphone helps it in ignoring the acoustical gobos that are altering the acoustical characteristics of the other microphones, letting the entire large liveroom to be heard. This Microphone setup can be used as a natural reverb, when combined with any of the other microphone setups, or could be used by itself when a softer wide-and-far sound is desired. This is also very useful if you want to include any of the Broadway Big Band instruments in a symphonic arrangement, and make it blend with the rest of the symphonic ensemble. Microphone setups for Soprano Saxophone: Mic1: Close Mic A Large capsule condenser tube microphone (149). This microphone setup is relatively close and offers a fairly dry and focused sound, but it is still far enough to let the instrument breathe and the sound to fully develop, allowing some of the room reflections to be included, adding brightness and size. Mic2: Tight mic A Large capsule condenser microphone (414). This microphone setup is very close to the instrument, and it delivers a super dry sound with almost no room reflections. It gives the saxophones a modern poppy sound suitable mostly for pop-solos and/or slim focused sound of a popsection. Mic3: Loose mic A Large capsule condenser microphone (U87) This Microphone setup is still fairly close to the instrument, but simulates the studio micing style typical for a large ensemble such as a large big-band. Using a vintage tube preamplifier, it delivers warm and rounded yet powerful sound, and due to the relative distance from the instrument, it includes significantly more room reflections than the two close microphone setups. This setup delivers a "bigger" sound image than the close microphone setups, as the sound tends to acoustically buildup in the air, and with the added room reflections you get a "Fatter" sound. This Microphone setup is very useful especially for jazz-oriented pieces, and if you want to "glue" the instruments together, making them sound as if they were recorded as an ensemble, sharing microphones in a single room. This is also a good option if you want a soloist sound that needs to be incorporated in a symphonic arrangement.

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Mic 4: Room Mic A Large capsule condenser microphone (U87) Positioned high above the instrument, near the high ceiling of the studio, this microphone setup includes a lot of room reflections, yet it is still aimed at the instrument and not from very far away so you still get a direct signal from the instrument, but it is well-blended with the room reflections. The height of the microphone helps it in ignoring the acoustical gobos that are altering the acoustical characteristics of the other microphones, letting the entire large liveroom to be heard. This Microphone setup can be used as a natural reverb, when combined with any of the other microphone setups, or could be used by itself when a softer wide-and-far sound is desired. This is also very useful if you want to include any of the Broadway Big Band instruments in a symphonic arrangement, and make it blend with the rest of the symphonic ensemble.

Microphone setups for Alto Saxophone: Microphones 1-4 the same as with the Soprano saxophone. MIC 5 – "PA MIC" This is a popular dynamic microphone that is often used in live-show situations and will blend very well with live instruments when using Broadway Big band in live-shows where a similar microphone is being used to pick-up the other instruments of the ensemble. Microphone setups for Tenor Saxophone: Same as with Alto Saxophone. Microphone setups for Baritone Saxophone: The Baritone saxophone has 4 microphone setups to choose from and/or combine. Mic1: Close Mic A Large capsule condenser tube microphone (149). This microphone setup is relatively close and offers a fairly dry and focused sound, but it is still far enough to let the instrument breathe and the sound to fully develop, allowing some of the room reflections to be included, adding brightness and size. This microphone setup is intended for Funk, Salsa, and any other situation where you need a powerful, vivid and bright sound. Mic2: Tight mic A Large capsule condenser microphone (414). This microphone setup is very close to the instrument, and it delivers a super dry sound with almost no room reflections. It lets the baritone saxophone have a very aggressive "in your face" sound, which will easily cut through the mix. Mic3: Loose mic A Large capsule condenser microphone (U87) This Microphone setup is still fairly close to the instrument, but simulates the studio micing style typical for a large ensemble such as a large big-band. Using a vintage tube preamplifier, it delivers warm and rounded yet powerful sound, and due to the relative distance from the instrument, it includes significantly more room reflections than the two close microphone setups. This setup delivers a "bigger" sound image than the close microphone setups, as the sound tends to acoustically buildup in the air, and with the added room reflections you get a "Fatter" sound. This Microphone setup is very useful especially for jazz-oriented pieces, and if you want to "glue" the instruments together, making them sound as if they were recorded as an ensemble, sharing microphones in a single room. This is also a good option if you want a soloist sound that needs to be incorporated in a symphonic arrangement.

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Mic 4: Room Mic A Large capsule condenser microphone (U87) Positioned high above the instrument, near the high ceiling of the studio, this microphone setup includes a lot of room reflections, yet it is still aimed at the instrument and not from very far away so you still get a direct signal from the instrument, but it is well-blended with the room reflections. The height of the microphone helps it in ignoring the acoustical gobos that are altering the acoustical characteristics of the other microphones, letting the entire large liveroom to be heard. This Microphone setup can be used as a natural reverb, when combined with any of the other microphone setups, or could be used by itself when a softer wide-and-far sound is desired. This is also very useful if you want to include any of the Broadway Big Band instruments in a symphonic arrangement, and make it blend with the rest of the symphonic ensemble.

Microphone setups for Upright Bass: The Upright Bass is different than most of the other instruments of the Broadway Big Band, as one of the most recommended setups is a combination of two microphone positions, and also because one of its microphone positions is actually a pickup. Microphone 1: This large diaphragm condenser microphone (U87) is positioned near the neck of the Bass. This gives this microphone position an edge, delivering powerful attack without overloading the low frequencies. In order to get a "fatter" sound it is highly recommended to mix this microphone setup with the Mic-3 setup, as they were recorded with the intention of being mixed together. Microphone 2: This microphone setup is simply the onboard pickup of the upright bass which was recorded. Nothing fancy, but if you want a genuine pickup sound this microphone setup is for you.

Microphone 3: This large diaphragm condenser microphone (U87) is positioned near the sounding board of the upright bass and uses a vintage tube pre-amplifier, so it is loaded with healthy phat low frequencies. It is great by itself for a jazzy warm sound without too much emphasis on the attack of the plunking. However, as mentioned above, it is highly recommended to combine this microphone setup with the "Mic1" setup for an extra punch. Microphone 4: This large diaphragm tube condenser microphone (149) is positioned in front of the center of the upright bass as a loose mic, using a vintage tube pre-amplifier. It is suitable in those cases where other microphone setups feel overwhelmingly massive and close. As it is not as close to the instrument it dose not have as much size and punch as mic1 and mic3, but it has its own qualities. The extra distance from the instrument lets the sound develop and breathe. If you want to take advantage of these advantages without sacrificing low frequencies, simply add more Low frequencies by EQ-ing it. It is also possible to combine this microphone setup with mic3 for extra boost on the low frequencies (no phasing issues are going to be presented by it) but as both mic3 and mic1 are close microphone positions which are meant to be combined with each other for a combined close-micing setup, combining mic4 with any of them (1 or 3) may not provide you with the unique advantages of either close micing or loose micing, however, you may experiment with the various combinations and create just the sound you want for the specific production you are working on… Microphone setups for Banjo / Ukulele: There are two stereophonic microphone setups for both the Banjo and the Ukulele. The differences are in the over-all sound as a result of microphone angles and stereo imaging. Two ribbon microphones and two condenser microphones were used. Simply experiment with both and use the one the most suits your current production.

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Microphone setups for Latin Percussions: All of the Latin percussion instruments were recorded roughly the same way, so this following description is appropriate for all of them (Congas, Bongos, Timbalitos, and the various percussion toys). There are 3 stereophonic microphone setups that can be used individually or in combination with any or all of the others. Microphone Setup 1: "Close Microphone Setup". This stereophonic pair of dynamic microphones (SM57) simulates a live performance situation, and is also good when you want the percussion to easily cut through the mix and sound close and crisp. The stereo image is super-wide (to the extent that sometimes an instrument will only be heard on one side of the panorama with virtually no sound bleed on the other. You can always narrow the stereo image down a notch if you want to do so, by adjusting the PAN knobs in your mixer, or by adding the "Room microphone setup" (Microphone-Setup 3). Microphone Setup 2: "Loose Microphone Setup". This stereophonic pair of large diaphragm condenser microphones (C414) was positioned behind the performer, and hence capture a rich room reflection content in addition to a wide stereo image of the instruments themselves. You can always narrow the stereo image down a notch if you want to do so, by adjusting the PAN knobs in your mixer, and/or by adding "Microphone Setup 3" which has a narrower stereo image. This microphone setup can be used by itself to blend smoothly in the mix (or for a high-end sounding percussion solo part), or in conjunction with "Microphone Setup 1" for extra punch. However, once again, combining all three stereophonic microphone setups is recommended, as it provides maximum sonic control when mixing.

Microphone Setup 3: "Room Microphone Setup" This stereophonic pair of large diaphragm condenser microphones (U87) were positioned high above and behind the percussionist, facing the large live room and capturing its reflections. In order to prevent phasing issues and avoid too long of a distance from the instruments, they were setup in an X shape at the center, and hence provide a narrower, yet very natural stereo image. This microphone setup can be used as a natural reverb, or to simulate a situation of microphone-bleed. It can also be used by itself if the production calls for long micing of the percussion.

Microphone setups for Xylophone The Xylophone was recorded with 3 stereo pairs of microphones that can be all mixed together in various ways to accommodate your mix for whatever genre you're working in. However, this xylophone is not intended for symphonic applications but rather for anything and everything other than that. Microphone setup 1: A stereo pair of large diaphragm condenser microphones positioned at the top of the xylophone, capturing the most punch and emphasizes the attack and detail of the sticks hitting and rubbing the wooden instrument. This stereophonic microphone setup delivers a bright sound with much detail, especially in the high frequencies. Microphone Setup 2: A stereo pair of ribbon microphones, using a vintage tube pre-amplifier and positioned under the xylophone. This stereophonic microphone setup delivers the "meat" of the acoustical tone of the instrument, and it is usually a very good idea to use it in conjunction with "microphone setup 1" or in some cases just by itself. Even though it is not as physically close to the surface of the xylophone keys, it still presents a nice punch and attack, but also a warmer, fuller, and more pleasing tone. The recommended combination for close-micing is the combination of "microphone setup 1" and "microphone setup 2". Microphone Setup 3: "Room-mic". This Stereophonic pair of microphones captures the xylophone from a distance, yet without sacrificing the stereo width and spread, due to the special way they were positioned compared to the acoustical gobos that were used. This stereophonic microphone setup can be used by itself for long-micing applications, or in conjunction with any one of the other microphone setups or with both.

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Chapter 12 – Articulations – detailed lists of articulations and key-switches of all instruments: In the following pages you'll find tables listing all of the articulations and key-switches of all of the instruments in the collection. For the purpose of clarity, we'll be using shortened language to describe key-switch behaviors:

• • • • • •

“Passive State-change” is a key-switch that changes the playing state of an instrument for all notes to follow it. “Active State-Change” is a key-switch that changes the playing state of an instrument, affecting an already presently played note. “Passive Temp” is a key-switch that triggers a temporary articulation for notes to be played while it's held down. “Active Temp” is an key-switch that triggers a temporary articulation for an already presently played note. “Passive / Active Temp” is passive if pressed before playing a note. Active if pressed to affect an ongoing note. “Bi-Directional Active” is a key-switch that triggers a temporary articulation for an already played note both when pressed and when being released. (only applicable to the “Alternate Fingering” articulation).

Also, we employ the following word coding:

• • •

!

“Hold” refers to SHIFT and OPTION keys that need to be held while pressing the main articulation key-switch. When it says “Hold” press and hold that key-switch first. “Press” refers to a temporary articulation key-switch that needs to be pressed and held while playing the notes that are to be affected by it. “Click” refers to both active temporary articulations such as “Fall from sustain”, and all playing-state keys, and it means that once you click that key-switch, there is no need to keep it pressed down, and any SHIFT and/or OPTION keys held for it can be released as well.

IMPORTANT NOTE:

While Broadway Big Band includes an enormous amount of samples and articulations, it does not include every articulation known to mankind... In some cases, certain articulations are limited to a certain range (as beyond that range it becomes impractical to play the articulation with the real instrument), and in some cases, certain note-transition styles are recorded in a limited amount of intervals, practically covering the most useful intervals for that style, but not necessarily all the intervals in both directions. Some articulations (such as various types of “falls”) were recorded both as stand-alone articulations, and as a “from-sustain” active articulations. Not everything was really recorded both ways. One of the things that we did differently in Kontakt Edition, from the HALion powered version, is that we enabled simulated articulations. This means, that if you are trying to play a “fall-slow-from sustain” in an instrument that only has a “fall slow” that wasn't recorded as a “from-sustain” sample, in Kontakt Edition we simulate that missing articulation, by an automatic smart trimming and cross-fading. The results with the new simulated articulations are surprisingly good most of the time, but may not always be perfect. If you push the simulated articulations too far, it may not be as convincing. For example, if you try to perform a “fall-from-sustain” from a plunger pattern sample, the differences in timber between the plungered sustain and the regular “fall-from-sustain” will not produce a convincing effect, unless hidden in the mix, under other instruments that do not play the same type of overly pushed simulated articulation.

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Clarinet

Articulation

Required Playing States

Keyswitches

Behavior

Comments

Smear into note

Press (D0)

Passive Temp

Smear legato

Press (D0)

Passive Temp

Glide down

Press (F#0)

Passive Temp

Sustain prog vib Legato

Soprano Sax

Articulation

Required Playing States

Key-switches

Behavior

Sustain no vib

Click (C1)

Passive State-change

Switch to sustain no vib

Hold (A0) + Click (C1)

Active State-change

Sustain vib

Click (D1)

Passive State-change

Switch to sustain vib

Hold (A0) + Click (D1)

Active State-change

Smear into note

Press (D0)

Passive Temp

Staccatissimo

Press (C#0)

Passive Temp

Staccato

Press (D#0)

Passive Temp

Legato to short

Press (C#0) or (D#0)

Passive Temp

Rip up into short note

Hold (C#0) + Press (D0) Passive Temp

Legato no vib

Vibrato None

Legato vib

Vibrato Normal

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Comments

Alto-Sax-1 Articulation

Required Key-switches Playing States

Behavior

Sustain Prog Vib

Growl Off (E0)

Click(C1)

Passive State-change

Switch to Sustain Prog Vib

Growl Off (E0)

Hold(A0) + Click(C1)

Active State-change

Sustain Deep Vib

Growl Off (E0)

Click(D1)

Passive State-change

Switch to Sustain Deep Vib

Growl Off (E0)

Hold(A0) + Click(D1)

Active State-change

Sustain with Growl

Click(F0)

Active State-change

Growl Off

Click(E0)

Active State-change

Legato

Comments

Play notes in an overlapping fashion (legato) to trigger the articulation.

Staccato

Press(D#0)

Passive Temp

Staccatissimo

Press(C#0)

Passive Temp

Legato to short

Press(C#0) or (D#0)

Passive Temp

Fall down fast

Growl Off (E0)

Press(F#0)

Passive / Active Temp

Fall down fast w growl

Growl On (F0)

Press(F#0)

Passive / Active Temp

Glide down

Growl Off (E0)

Hold(C#0) + Press(F#0)

Passive / Active Temp

Fall down slow

Hold(C#0)+(D#0) + Press(F#0) Passive / Active Temp

Fall up

Hold(D#0) + Press(F#0)

Passive / Active Temp

Fall up slow

Hold(B0) + Press(F#0)

Passive / Active Temp

Smear into sustain

Press(D0)

Passive Temp

Slow smear into sustain

Hold(C#0)+(D#0) + Press(D0) Passive Temp

Smear legato

Press(D0)

Passive Temp

Sforzzando

Press(G#0)

Passive Temp

Marcato + Dirty Vibrato

Press(G0) or Hold(A0)+Press(G#0)

Passive / Active Temp

Grace Note

Press(A#0)

Passive Temp

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Press and hold key-switch when a note is played, then play a second note in an overlapping fashion (legato) to trigger the articulation.

Hold key-switch while a note is played, then play a second note in an overlapping fashion (legato) to trigger the articulation.

Tenor-Sax-1 Articulation

Required Key-switches Playing States

Behavior

Comments

Sustain prog vib

Growl Off (E0)

Click (C1)

Passive State-change

Hold down the A0 to actively switch to this vibrato from an already played sample

Switch to sustain prog vib Growl Off (E0)

Hold (A0)+Click (C1)

Active State-change

Sustain No Vib

Growl Off (E0)

Hold (B0) + Click (C1)

Passive State-change

Switch to sustain no vib

Growl Off (E0)

Hold (A0)+(B0) + Click (C1)

Active State-change

Hold (A0) + Click (A#0)

Passive State-change

Sustain Strong Vib Legato (prog vib)

Hold down the A0 to actively switch to this vibrato from an already played sample

Play notes in an overlapping fashion (legato) to trigger the articulation.

Staccatissimo

Press (C#0)

Passive Temp

Staccato

Press (D#0)

Passive Temp

Legato to short

Press (C#0) or (D#0)

Passive Temp

Smear into note

Growl Off (E0)

Press (D0)

Passive Temp

Smear w/ Growl

Growl On (F0)

Press (D0)

Passive Temp

Slow smear into note

Hold (D#0) + Hold (C#0) + Press (D0)

Passive Temp

Rip up into short note

Hold (D#0) + Press (D0)

Passive Temp

Growl Sustain

Click (F0)

Active State-change

Growl Off

Click (E0)

Active State-change

Fall Down Fast

Growl Off (E0)

Press (F#0)

Passive / Active Temp

Fall Down Fast w/ Growl

Growl On (F0)

Press (F#0)

Passive / Active Temp

Glide Down

Growl Off (E0)

Hold (C#0) + Press (F#0)

Passive / Active Temp

Glidw Down w/ Growl

Growl On (F0)

Hold (C#0) + Press (F#0)

Passive / Active Temp

Fall Down Slow

Hold (C#0) + Hold (D#0) + Press (F#0) Passive / Active Temp

Fall Up

Hold (D#0) + Press (F#0)

Passive / Active Temp

Marccato + Dirty Vibrato

Press (G0) or Hold (A0) + Press (G#0)

Passive / Active Temp

Marccato + Mild Vibrato

Hold (B0) + Press (G#0)

Passive Temp

Marccato + No Vibrato

Hold (C#0) +Press (D#0)

Passive Temp

Sforzzando

Press (G#0)

Passive Temp

Sforzzando + Cresc Fast

Hold (C#0) + Press (G#0)

Passive Temp

Sforzzando + Cresc Slow

Hold (D#0) + Press (G#0)

Passive Temp

Alternate Fingering

Press (C#1)

Clap FX

Hold (C#0) + Hold (D#0) + Press (G#0) Passive Temp

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Press and hold key-switch when a note is played, then play a second note in an overlapping fashion (legato) to trigger the articulation.

Alto-Sax-2 Articulation

Required Playing States

Key-switches

Behavior

Comments

Staccatissimo

Press (C#0) or (D#0)

Passive Temp

Fall Down Fast

Press (F#0)

Passive / Active Temp

Sustain Prog Vib

Tenor-Sax-2 Articulation

Required Playing States

Key-switches

Behavior

Sustain Deep Vibrato

Click (C1)

Passive State-change

Sustain No Vibrato

Hold (B0) + Click (C1)

Passive State-change

Legato (prog vib)

Comments

Play notes in an overlapping fashion (legato) to trigger the articulation.

Staccatissimo

Press (C#0)

Passive Temp

Staccato

Press (D#0)

Passive Temp

Legato to short

Press (C#0) or (D#0)

Passive Temp

Smear into note

Press (D0)

Passive Temp

Slow smear into note

Hold (D#0) + Hold (C#0) + Press (D0)

Passive Temp

Fall Down Fast

Press (F#0)

Passive / Active Temp

Fall Down Slow

Hold (C#0) + Hold (D#0) + Press (F#0) Passive / Active Temp

Fall Up

Hold (D#0) + Press (F#0)

Passive / Active Temp

Sforzzando

Press (G#0)

Passive Temp

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Bari-Sax

Articulation

Required Playing States

Key-switches

Behavior

Sustain No Vib

Growl Off (E0)

Click (C1)

Passive Statechange

Switch to Sustain No Vib

Growl Off (E0)

Hold (A0) + Click (C1)

Active State-change

Sustain Vib

Growl Off (E0)

Click (D1)

Passive Statechange

Switch to Sustain Vib

Growl Off (E0)

Hold (B0)+Click (D1)

Active State-change

Legato no-vib

no-vib

Legato with vibrato

deep-vib

Comments

Play notes in an overlapping fashion (legato) to trigger the articulation.

Growl Sustain

Click (F0)

Active State-change

Growl Off

Click (E0)

Active State-change

Staccatissimo

Press (C#0)

Passive Temp

Staccato

Press (D#0)

Passive Temp

Double staccato

Hold (C#0) +Press (D#0)

Passive Temp

Triple staccato

Hold (B0) + Click (A#0)

Passive Temp

Legato to short

Press (C#0) or (D#0)

Passive Temp

Smear into sustain

Press (D0)

Passive Temp

Sforzzando

Press (G#0)

Passive Temp

Sforzzando + Cresc - Fast

Hold (C#0) + Press (G#0)

Passive Temp

Sforzzando + Cresc – Slow

Hold (D#0) + Press (G#0)

Passive Temp

Grace note sustain

Press (A#0)

Passive Temp

Grace note short min2-up

Hold (D#0) + Press (A#0)

Passive Temp

Grace note short maj2-up

Hold (C#0) + Press (A#0)

Passive Temp

Grace note short min2down

Hold (C#0) + Hold (D#0) + Press (A#0) Passive Temp

Double grace note short

Hold (C#0) + Press (D0)

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Passive Temp

Press and hold key-switch when a note is played, then play a second note in an overlapping fashion (legato) to trigger the articulation

Trumpet-1 Articulation

Required Playing Key-switches States

Behavior

Sustain Prog Vib

Plunger Off (E1) Flutter Off (E0)

Click (C1)

Passive State-change

Switch to Sustain Prog Vib

Plunger Off (E1) Flutter Off (E0)

Hold (A0) + Click (C1)

Active State-change

Sustain Deep Vib

Plunger Off (E1) Flutter Off (E0)

Click (D1)

Passive State-change

Switch to Sustain Deep Vib

Plunger Off (E1) Flutter Off (E0)

Hold (A0) + Click (D1)

Active State-change

Sustain No Vib

Plunger Off (E1) Flutter Off (E0)

Hold (B0)+Click (C1)

Passive State-change

Switch to Sustain No Vib

Plunger Off (E1) Flutter Off (E0)

Hold (A0) + Hold (B0)+Click (C1)

Active State-change

Legato (Prog Vib)

Plunger Off (E1)

Staccato

Plunger Off (E1)

Press (D#0)

Passive Temp

Staccatissimo

Plunger Off (E1)

Press (C#0)

Passive Temp

Legato to short

Plunger Off (E1)

Press (C#0) or (D#0)

Passive Temp

Fall down fast

Flutter Off (E0)

Hold (C#0) + Press (F#0)

Passive / Active Temp

Fall down slow

Press (F#0)

Passive / Active Temp

Fall down very slow

Hold (C#0) + Hold (D#0) + Press (F#0) Passive / Active Temp

Fall up (doit)

Hold (D#0) + Press (F#0)

Passive / Active Temp

Fall up slow

Hold (B0) + Press (F#0)

Passive / Active Temp

Smear into sustain

Press (D0)

Passive Temp

Rip up into short note

Hold (D#0) + Press (D0)

Passive Temp

Rip down to sustain

Hold (C#0) + Press (D0)

Passive Temp

Comments

Play notes in an overlapping fashion (legato) to trigger the articulation.

Rip up to sustain no vib

Flutter Off (E0)

Hold (D#0) + Hold (C#0) + Press (D0)

Passive Temp

Rip up to sustain deep vib

Flutter Off (E0)

Hold (D#0) + Hold (C#0) + Press (D0)

Passive Temp

Smear down and back

Hold (A0) + Press (D0)

Passive Temp

Sfz + Cresc - Fast

Hold (C#0) + Press (G#0)

Passive Temp

Sfz + Cresc – Slow

Hold (D#0) + Press (G#0)

Passive Temp

Marccato + Mild vibrato

Hold (A0) + Press (G#0)

Passive Temp

Shake – Fast

Hold (A0) + Press (A#0)

Passive Temp

Shake – Slow

Hold (A0) + Hold (B0) + Press (A#0)

Passive Temp

Grace Note

Press (A#0)

Passive Temp

Chromatic Runs

Press (D#1)

Passive Temp

- 23 -

Press and hold keyswitch when a note is played, then play a second note in an overlapping fashion (legato) to trigger the articulation.

Affects the notetransition style when playing legato (overlapping notes)

Articulation

Required Playing Key-switches States

Behavior

Comments

Rip Portamento

Press (C#1)

Passive Temp

Affects the notetransition style when playing legato (overlapping notes)

Rip Portamento to short

Hold (D#0) + Press (C#1)

Passive Temp

Affects the notetransition style when playing legato (overlapping notes)

Flutter sustains

Click (F0)

Active State-change

Growl sustains

Hold (A0) + Click (F0)

Active State-change

Flutter/Growl Off

Click (E0)

Active State-change

Flutter Hard attack

Flutter On (F0)

Press (G0)

Passive Temp

Fall down (fast) with flutter

Flutter On (F0)

Press (F#0)

Passive / Active Temp

Rip up to sustain with flutter Flutter On (F0)

Hold (D#0) + Hold (C#0) + Press (D0)

Passive Temp

Plunger On

Click (F1)

Passive State-change

Plunger Off

Click (E1)

Passive State-change

Plunger Pattern 1

Plunger On (F1) Flutter Off (E0)

Click (C1)

Passive State-change

Plunger Pattern 2

Plunger On (F1) Flutter Off (E0)

Hold (B0)+Click (C1)

Passive State-change

Plunger Pattern 3

Plunger On (F1) Flutter Off (E0)

Click (D1)

Passive State-change

Plunger Pattern 4

Plunger On (F1) Flutter Off (E0)

Hold (B0)+Click (D1)

Passive State-change

Plunger Pattern 1 w/ Flutter Plunger On (F1) Flutter On (F0)

Click (C1)

Passive State-change

Plunger Pattern 2 w/ Flutter Plunger On (F1) Flutter On (F0)

Hold (B0)+Click (C1)

Passive State-change

Plunger Pattern 3 w/ Flutter Plunger On (F1) Flutter On (F0)

Click (D1)

Passive State-change

Plunger Pattern 4 w/ Flutter Plunger On (F1) Flutter On (F0)

Hold (B0)+Click (D1)

Passive State-change

Staccato closed plunger

Plunger On (F1)

Press (C#0)

Passive Temp

Staccato open plunger

Plunger On (F1)

Press (D#0)

Passive Temp

- 24 -

Trombone Articulation

Required Playing States

Key-switches

Behavior

Sustain no vib

Flutter Off (E0)

Click (C1)

Passive State-change

Switch to sustain no vib

Flutter Off (E0)

Hold (A0)+Click (C1)

Active State-change

Sustain vib

Flutter Off (E0)

Click (D1)

Passive State-change

Switch to sustain vib

Flutter Off (E0)

Hold (A0)+Click (D1)

Active State-change

Legato

Flutter Off (E0)

Flutter tongue

Click (F0)

Active State-change

Flutter Off

Click (E0)

Active State-change

Flutter Off (E0)

Click (G0)

Passive Temp

Flutter sustain hard attack Flutter On (F0)

Click (G0)

Passive Temp

Gliss Portamento

Flutter Off (E0)

Click (C#1)

Passive Temp

Gliss Portamento w/ Flutter

Flutter On (F0)

Click (C#1)

Passive Temp

Sforzzando

Press (G#0)

Passive Temp

Sforzzando + Cresc – Fast

Hold (C#0) + Press (G#0)

Passive Temp

Sforzzando + Cresc – Slow

Hold (D#0) + Press (G#0)

Passive Temp

Sustain hard attack

Staccatissimo

Flutter Off (E0)

Press (C#0)

Passive Temp

Staccato

Flutter Off (E0)

Press (D#0)

Passive Temp

Flutter Staccato

Flutter On (F0)

Press (C#0) or (D#0)

Passive Temp

Smear sustain no vibrato

Vibrato None (C1) Plunger Off (E1)

Press (D0)

Passive Temp

Smear sustain vibrato

Vibrato Normal (D1) Plunger Off (E1)

Press (D0)

Passive Temp

Shake – Fast

Hold (A0) + Press (A#0)

Passive Temp

Glide into staccato

Hold (D#0) + Press (D0)

Passive Temp

Rip up into short note

Hold (C#0) + Press (D0)

Passive Temp

Fall Down Fast

Flutter Off (E0)

Press (F#0)

Passive / Active Temp

Fall Down Fast w Flutter

Flutter On (F0)

Press (F#0)

Passive / Active Temp

Glide Down

Flutter Off (E0)

Hold (C#0) + Press (F#0)

Passive / Active Temp

Fall Down Slow

Hold (C#0) + Hold (D#0) + Press (F#0)

Passive / Active Temp

Wow (marccato)

Hold (B0) + Press (G#0)

Passive Temp

Plunger On

Click (F1)

Passive State-change

Plunger Off

Click (E1)

Passive State-change

Plunger Pattern 1

Plunger On (F1) Flutter Off (E0)

Click (C1)

Passive State-change

Plunger Pattern 2

Plunger On (F1) Flutter Off (E0)

Hold (B0)+Click (C1)

Passive State-change

Plunger Pattern 3

Plunger On (F1) Flutter Off (E0)

Click (D1)

Passive State-change

- 25 -

Comments

Articulation

Required Playing States

Key-switches

Behavior

Plunger Pattern 4

Plunger On (F1) Flutter Off (E0)

Hold (B0)+Click (D1)

Passive State-change

Press (D0)

Passive Temp

Smear w/ plunger + flutter Plunger On (F1) Flutter Off (E0) Flutter w/ closed plunger

Plunger On (F1) Flutter On (F0)

- 26 -

Comments

Trumpet-1 Harmon Mute Articulation

Required Playing States

Key-switches

Behavior

Comments

Sustain Prog Vib

Plunger Off (E1) Click (C1) Stem Off (E0)

Passive State-change

Stem Sustain

Plunger Off (E1) Click (F0)

Passive State-change

Stem Off

Click (E0)

Passive State-change

Plunger On

Click (F1)

Passive State-change

Plunger Off

Click (E1)

Passive State-change

Wah Wah Pattern 1

Plunger On (F1) Click (C1)

Passive State-change

Wah Wah Pattern 2

Plunger On (F1) Hold (B0)+Click (C1)

Passive State-change

Wah Wah Pattern 3

Plunger On (F1) Click (D1)

Passive State-change

Wah Wah Pattern 4 (Wah Short)

Plunger On (F1) Hold (B0)+Click (D1)

Passive State-change

Wah Short

Plunger On (F1) Press (C#0) or (D#0)

Passive Temp

Staccato closed stem

Plunger Off (F1) Press (C#0)

Passive Temp

Staccato open stem

Plunger Off (F1) Press (D#0)

Passive Temp

Shake – Fast

Hold (A0) + Press (A#0)

Passive Temp

Fall Down Fast

Press (F#0)

Passive / Active Temp

Fall Down Slow

Hold (C#0) + Hold (D#0) + Press (F#0)

Passive / Active Temp

Fall Up (Doit)

Hold (D#0) + Press (F#0)

Passive / Active Temp

Trumpet-1 Cup Mute Articulation

Required Key-switches Playing States

Behavior

Sustain No Vib

Click (C1)

Passive State-change

Sustain Deep Vib

Click (D1)

Passive State-change

Staccato

Press (C#0) or (D#0)

Passive Temp

Shake – Fast

Hold (A0) + Press (A#0) Passive Temp

Fall Down Fast

Press (F#0)

Passive / Active Temp

- 27 -

Comments

Trumpet-2 Articulation

Required Playing States

Sustain Prog Vib

Flutter Off (E0)

Key-switches

Behavior

Comments

Passive State-change

Flutter tonguing

Click (F0)

Active State-change

Flutter Off

Click (E0)

Active State-change

Staccato

Press (C#0) or (D#0)

Passive Temp

Fall Down Fast

Press (F#0)

Passive / Active Temp

Fall Down Slow

Hold (C#0) + Hold (D#0) + Press (F#0) Passive / Active Temp

Fall Up (Doit)

Hold (D#0) + Press (F#0)

Passive / Active Temp

Sforzzando

Click (G#0)

Passive Temp

Sforzzando + Cresc – Fast

Hold (C#0) + Press (G#0)

Passive Temp

Trumpet-2 Harmon Mute Articulation

Required Playing States

Key-switches

Behavior

Sustain Prog Vib

Comments This is the only articulation of this instrument.

Trombone Straight Mute Articulation

Required Playing States

Key-switches

Behavior

Comments

Sustain No Vib Staccato

Press (C#0) or (D#0)

Passive Temp

Fall Down Fast

Press (F#0)

Passive / Active Temp

Trombone Bucket Mute Articulation

Required Playing States

Key-switches

Sustain Vib

Behavior

Comments This is the only articulation of this instrument.

- 28 -

Upright-Bass Articulation

Required Playing States

Key-switches

Behavior

Sustain No Vib

Hold (B0) + Click (C1)

Passive State-change

Sustain Deep Vib

Click (D1)

Passive State-change

Sustain Normal Vib

Click (C1)

Passive State-change

Staccato

Press (D#0)

Passive Temp

Slow gliss down 1 octave (fall down)

Press (F#0)

Passive Temp

Slow gliss up 1 octave (fall up)

Hold (D#0) + Press (F#0)

Passive Temp

Slap

Press (G#0)

Passive Temp

Bend up into note

Press (D0)

Passive Temp

Bend down into note

Hold (D#0) + Press (D0)

Passive Temp

Long Bend up into note

Hold (C#0)+(D#0) + Press (D0)

Passive Temp

Comments

Xylophone Rubber Articulation

Required Playing States

Key-switches

Behavior

Comments

Add scrape releases

Press (D#0)

Passive Temp

Use this when playing glissandos.

Tremolo

Press (G0)

Passive Temp

Releasing a note triggers a new note.

Key-switches

Behavior

Comments

Open

Click (E0)

Passive Statechange

Muted

Click (F0)

Passive Statechange

Open

Xylophone Plastic Articulation

Required Playing States

Open temporary override

Muted (F0) Press (C#0)

Passive Temp

Muted temporary override

Open (E0)

Press (C#0)

Passive Temp

Add scrape releases

Press (D#0)

Passive Temp

Tremolo

Press (G0)

Passive Temp

- 29 -

Releasing a note triggers a new note.

Ukulele Articulation

Required Playing States

Key-switches

Behavior

Up Stroke

Click (C1)

Passive Statechange

Down Stroke

Click (D1)

Passive Statechange

Temporary Up Stroke

Press (F#0)

Passive Temp

Temporary Down Stroke

Press (A#0)

Passive Temp

Enter strum mode

Click (F1)

Passive Statechange

Exit strum mode

Click (E1)

Passive Statechange

Strum up open

Click (F#0)

Active Temp

Strum down open

Click (A#0)

Active Temp

Strum up half muted

Click (F0)

Active Temp

Strum down half muted

Click (B0)

Active Temp

Half muted

Press (D#0)

Passive Temp

Grace note

Press (C#1)

Passive Temp

- 30 -

Comments

Banjo Articulation

Required Playing States

Key-switches

Behavior

Sustain up stroke

Strum Off (E1)

Click (C1)

Passive State-change

Sustain down stroke

Strum Off (E1)

Click (D1)

Passive State-change

Temporary Up Stroke

Strum Off (E1)

Press (F#0)

Passive Temp

Temporary Down Stroke

Strum Off (E1)

Press (A#0)

Passive Temp

Enter strum mode

Click (F1)

Passive State-change

Exit strum mode

Click (E1)

Passive State-change

Strum upwards open

Strum On (F1)

Click (F#0)

Active Temp

Strum downwards open

Strum On (F1)

Click (A#0)

Active Temp

Strum upwards half muted

Strum On (F1)

Click (F0)

Active Temp

Strum downwards half muted Strum On (F1)

Click (B0)

Active Temp

Strum upwards fully muted

Strum On (F1)

Click (G0)

Active Temp

Strum downwards fully muted

Strum On (F1)

Click (A0)

Active Temp

Staccato down stroke

Strum Off (E1) Down Stroke (D1)

Click (G#0)

Passive State-change

Staccato up stroke

Strum Off (E1) Up Stroke (C1)

Click (G#0)

Passive State-change

Half muted down stroke

Strum Off (E1) Down Stroke (D1)

Press (D#0)

Passive Temp

Half muted up stroke

Strum Off (E1) Up Stroke (C1)

Press (D#0)

Passive Temp

Fully muted up stroke

Strum Off (E1) Up Stroke (C1)

Press (C#0)

Passive Temp

Fully muted down stroke

Strum Off (E1) Down Stroke (D1)

Press (C#0)

Passive Temp

Grace note downwards

Strum Off (E1)

Press (D#1)

Passive Temp

Grace note upwards down stroke

Strum Off (E1) Down Stroke (D1)

Press (C#1)

Passive Temp

Grace note upwards up stroke Strum Off (E1) Up Stroke (C1)

Press (C#1)

Passive Temp

- 31 -

Comments

Drum kit – sticks (B-1)

Kick drum - Soft

(C#3)

Low Reck – Muted

(C6)

Crash-Ride – Edge (Left)

(C0)

Kick drum

(D3)

Low Reck – Edge (Left)

(C#6)

Crash-Ride – Bell (Left)

(C#0) SD - Side-Stick

(D#3)

Low Reck – Rim (Left)

(D6)

Crash-Ride – Tip (Left)

(D0)

(E3)

Low Reck – Center (Left)

(D#6)

Crash-Ride – Bell (Right)

(D#0) SD – Rim (Left)

(F3)

Low Reck – Center (Right)

(E6)

Crash-Ride – Tip (Right)

(E0)

SD – Rim Shot - edge (Left)

(F#3)

Low Reck – Rim (Right)

(F6)

Crash-Ride – Edge (Right)

(F0)

SD – Off Center (Left)

(G3)

Low Reck – Edge (Right)

(F#6)

Crash-Ride – Chock (hit)

(F#0) SD – Buzz Roll (Left)

(G#3)

Hi Reck – Muted

(G6)

20” Ride – Edge (Left)

(G0)

(A3)

Hi Reck – Edge (Left)

(G#6)

20” Ride – Bell (Left)

(G#0) SD – Stick Click

(A#3)

Hi Reck – Rim (Left)

(A6)

20” Ride – Tip (Left)

(A0)

(B3)

Hi Reck – Center (Left)

(A#6)

20” Ride – Bell (Right)

(A#0) SD – Buzz Roll (Right)

(C4)

Hi Reck – Center (Right)

(B6)

20” Ride – Tip (Right

(B0)

SD – Off Center (Right)

(C#4)

Hi Reck – Rim (Right)

(C7)

20” Ride – Edge (Right

(C1)

SD – Rim Shot - edge (Right)

(D4)

Hi Reck – Edge (Right)

(C#1) SD – Rim (Right)

(D#4)

Splash – Chock

(D1)

(E4)

Splash – Left

(D#1) SD – Rim Shot – Center

(F4)

Splash – Right

(E1)

(F#4)

16” Crash – Harmonics

(F1)

(G4)

16” Crash – Edge (Left)

(F#1)

(G#4)

16” Crash – Bell (Left)

(A4)

16” Crash – Tip (Left)

(G#1) HH – Closed – Tip (Left)

(A#4)

16” Crash – Bell (Right)

(A1)

(B4)

16” Crash – Tip (Right)

(A#1) HH – Closed – Tip (Right)

(C5)

16” Crash – Edge (Right)

(B1)

HH – Splash

(C#5)

16” Crash – Chocking

(C2)

HH – Stomp

(D5)

16” Crash – Chock (hit)

(C#2) HH – Open – Tip (Left)

(D#5)

19” Crash – Harmonics

(D2)

(E5)

19” Crash – Edge (Left)

(D#2) HH – Open – Tip (Right)

(F5)

19” Crash – Tip (Left)

(E2)

HH – Open – Edge (Right)

(F#5)

19” Crash – Bell (Left)

(F2)

HH – Bark

(G5)

19” Crash – Tip (Right)

(F#2) Floor Drum – Muted

(G#5)

19” Crash – Bell (Right)

(G2)

(A5)

19” Crash – Edge (Right)

(G#2) Floor Drum – Rim (Left)

(A#5)

19” Crash – Chocking

(A2)

(B5)

19” Crash – Chock (hit)

(G1)

SD - double hit (Left)

SD – Center (Left) SD – Center (Right)

SD - double hit (Right) SD – Roll to hit

HH – Closed – edge (Left) HH – Closed – Edge (Right)

HH – Open – Edge (Left)

Floor Drum – Edge (Left) Floor Drum – Center (Left)

(A#2) Floor Drum – Rim (Right) (B2)

Floor Drum – Center (Right)

(C3)

Floor Drum – Edge (Right)

- 32 -

Drum kit – brushes (B-1)

Kick drum

(C#3)

(C0)

Kick drum - Soft

(D3)

(C#0) (D0)

(A#5) Low Reck –Brush– Center (L)

(D#3) SD – Medium Swish

(E3)

(B5) (C6)

Low Reck –Brush– Center (R)

Crash-Ride – Brush Scrape (Slow)

Crash-Ride – Brush hit

(C#6)

Crash-Ride – Choking

(D6)

Crash-Ride – Chock

(Accent at beginning & end)

(D#0) SD – Medium Swish (Accent at end)

(F3) Low Reck –Brush– Muted

(E0)

SD –Short Swish (Accent at beginning)

(F#3)

(F0)

SD – Muted Brush hit (L)

(G3)

(E6)

(G#3)

(F6)

(F#0) SD – Long Swish (G0)

(Accent in middle)

SD – Brush hit – center (L)

(G#0) SD – Swish – Looped

(A3)

Hi Reck –Brush– Center (L)

(A#3)

(sticks)

(D#6)

(F#6)

20” Ride

(G6)

20” Ride – Brush hit (L)

(G#6)

20” Ride

(A6)

20” Ride – Brush hit (R)

(A#6)

20” Ride – Choking

– Brush Scrape (Slow)

(Accent at beginning)

(A0)

SD – Brush hit – center (R)

(A#0) SD – Long Swish (B0)

(Hard attack)

(B3) (C4)

SD – Muted Brush hit (R)

(C#4)

SD – Short Swish

(D4)

(Accent at end)

Hi Reck –Brush– Center (R) Hi Reck –Brush– Muted

(B6)

(C#1) SD – Swish (multiple soft Accents)

(D#4)

Splash – Chock - (sticks)

(D1)

(E4)

Splash – Brush hit (Left)

(D#1) SD – Brush scrape (out-take)

(F4)

Splash – Brush hit (Right)

(E1)

(F#4)

(F1)

SD – Medium Swish SD – Slow Swish (Accent at beginning & end)

(G4)

(F#1) SD – Short Swish-to-hit

(G#4)

(G1)

(A4)

SD – Medium Swish-to-hit

(G#1) HH – Brush Closed – Tight (L)

(A#4)

16” Crash – Scrape (Fast)

(A1)

SD – Long Swish-to-hit

(B4)

16” Crash – Brush hit (L)

(A#1) HH – Brush Closed – Tight (R)

(C5)

16” Crash – Brush hit (R)

(B1)

HH – Splash

(C#5)

16” Crash – Scrape

(C2)

HH – Stomp

(D5)

16” Crash – Chock - (sticks)

(C#2) HH – Brush - Open (L)

(D#5)

(D2)

(E5)

HH – Stomp

(slow legato)

(D#2) HH – Brush – Open (R)

(F5)

(E2)

(F#5)

(F2)

HH – Brush Bark

(F#2) (G2)

(G5) (G#5)

Floor Drum – Brush – Center (L)

(A5)

(G#2) (A2)

Floor Drum – Brush – Center (R)

(A#2) (B2)

Floor Drum – Brush – Muted

(C3)

- 33 -

(Slow)

(C7)

– Brush Scrape (Fast)

Bongos – Hands (B-1)

(C#3)

Low-Bongo – Finger-tips run (R)

(C0)

(D3)

Low-Bongo – Finger-tip 2(L)

(C#0)

(D#3)

Low-Bongo – Short roll +Dim

(D0)

(E3)

Low-Bongo – Finger-tip 3(R)

(D#0)

(F3)

Low-Bongo – Finger-tip 4(R)

(E0)

(F#3)

Low-Bongo – Roll + Crescendo

(F0)

(G3)

Low-Bongo – Finger-tip 5(R)

(F#0)

(G#3)

Low-Bongo – Roll + diminuendo

(A3)

Low-Bongo – Roll (Looped)

(G0) st

(G#0) Low-Bongo – Wipe (1 direction)

(A#3)

(A0)

(B3)

Low-Bongo – Finger-tip 5(L)

(A#0) Low-Bongo – Wipe (2nd direction)

(C4)

(B0)

Low-Bongo – Finger-tip 4(L)

(C#4)

High-Bongo – Slap (L)

(C1)

Low-Bongo – Finger-tip 3(L)

(D4)

High-Bongo – Accent (L)

(C#1) Low-Bongo – Wipe-roll (Looped)

(D#4)

High-Bongo – Finger Run (L)

(D1)

(E4)

High-Bongo – Finger 2(L)

(D#1) Low-Bongo – Finger-tips run (L)

(F4)

High-Bongo – Finger 3(L)

(E1)

Low-Bongo – Finger 5 (L)

(F#4)

High-Bongo – Muffled (R)

(F1)

Low-Bongo – Finger 4 (L)

(G4)

High-Bongo – Finger 4 (L)

(F#1) Low-Bongo – Flam (fingers)

(G#4)

High-Bongo – Slap (R)

(G1)

(A4)

High-Bongo – Finger 5 (L)

(G#1) Low-Bongo – Finger run (L)

(A#4)

High-Bongo – Flam - Fingers

(A1)

(B4)

High-Bongo – Long Roll +diminuendo

(A#1) Low-Bongo – open tone (Fingers)(L)

(C5)

High-Bongo – Roll (Looped)

(B1)

Low-Bongo – Slap (L)

(C#5)

High-Bongo – Short Roll +diminuendo

(C2)

Low-Bongo – Open tone (L)

(D5)

High-Bongo –Sfz + Roll +dim

(C#2) Low-Bongo – Muffled tone (L)

(D#5)

High-Bongo – Finger Run (R)

(D2)

(E5)

High-Bongo – Finger 2(R)

(D#2) Low-Bongo – Muffled tone (R)

(F5)

High-Bongo – Finger 3(R)

(E2)

Low-Bongo – Open tone (R)

(F#5)

High-Bongo – Scrapes (L)

(F2)

Low-Bongo – Slap (R)

(G5)

High-Bongo – Finger 4(R)

(F#2) Low-Bongo – open tone (Fingers)(R)

(G#5)

High-Bongo – Scrapes (R)

(G2)

(A5)

High-Bongo – Finger 5(R)

(G#2) Low-Bongo – Finger run (R)

(A#5)

High-Bongo – Wipe-Tremolo (Looped)

(A2)

(B5)

High-Bongo – Wipe-Tremolo (Short)

(A#2) Low-Bongo – Finger run (L+R)

(C6)

Hi-Bongo – Wipe (1st direction)

(B2)

Low-Bongo – Finger 4 (R)

(C#6)

(C3)

Low-Bongo – Finger 5 (R)

(D6)

Low-Bongo – Finger-tip 2(L)

Low-Bongo – Finger 3 (L) Low-Bongo – Finger 2 (L)

Low-Bongo – Muffled (L)

Low-Bongo – Finger-tip 2(R) Low-Bongo – Finger 3 (R)

- 34 -

Hi-Bongo – Wipe (2nd direction)

Congas – Hands (B-1)

(E2)

Low Conga – Base tone on ground (R)

(A4)

(C0)

(F2)

Low Conga – Closed slap – High (R)

(A#4)

High Conga – Muffled tone (L)

(C#0)

(F#2)

(B4)

High Conga – Palm stroke – Fingers (L)

(D0)

(G2)

(C5)

High Conga – Palm stroke – Fingers (L)

(D#0)

(G#2) Low Conga – Base tone – Fist

(C#5)

High Conga – Muffled tone (R)

(E0)

Low Conga – finger tip 5 (L)

(F0)

Low Conga – finger tip 4 (L)

(F#0) (G0)

Low Conga – finger tip 3 (L)

(G#0) Low Conga – Finger run (L) (A0)

Low Conga – finger tip 2 (L)

(R)

(A2)

Low Conga – Palm stroke

(A#2)

Low Conga – Base tone off ground (R)

(D#5)

High Conga – Open tone (R)

(B2)

Low Conga – One finger on edge – Muffled (R)

(E5)

High Conga – Base tone (on

– fingers – edge (R)

(D5)

the ground) (R)

(C3)

(F5)

(C#3)

(F#5)

(D3)

Low Conga – finger tip 2 (R)

(G5)

High Conga – Open Slap (R)

(G#5)

High Conga – Base tone – Closed fist (R) High Conga – Palm Stroke Fingers – Edge (R)

(A#0)

(D#3) Low Conga – finger run (R)

(B0)

(E3)

Low Conga – finger tip 3 (R)

(A5)

(F3)

Low Conga – finger tip 4 (R)

(A#5)

(C1)

Low Conga – Finger on edge (Muffled)

High Conga – Closed Slap (R)

High Conga – Base tone (off the ground) (R)

(C#1) Low Conga – Muffled tone (R) (D1)

Low Conga – Palm stroke – fingers – edge (L)

(F#3) Low Conga – Double finger run (R) (G3)

Low Conga – finger tip 5 (R)

(D#1) Low Conga – Base tone – Fist (L)

(G#3) High Conga – finger run (L)

(E1)

(A3)

(F1)

Low Conga – Closed slap – High (L)

(F#1) (G1)

Low Conga – Base tone on ground (L)

(G#1) Low Conga – Open tone (L)

High Conga – finger tip 2 (L)

(A#3) High Conga – High Elbow press (L)

(B5)

High Conga – One finger on edge – Muffled (R)

(C6)

High Conga – One finger on edge – Open (R)

(C#6)

High Conga –Middle Elbow press (R)

(D6)

High Conga – finger tip 2 (R)

(D#6)

High Conga – finger run (R)

(B3)

High Conga – One finger on edge – Open (L)

(E6)

High Conga – finger tip 3 (R)

(C4)

High Conga – One finger on edge – Muffled (L)

(F6)

High Conga – finger tip 4 (R)

(F#6)

High Conga – Flam with open Slaps

(G6)

High Conga – finger tip 5 (R)

(C#4) High Conga – Base tone (off the ground) (L)

(A1)

(D4)

(A#1) Low Conga – Muffled tone (L)

(D#4) High Conga – Base tone – Closed fist (L)

(G#6)

High Conga – Flam with closed Slaps

(E4)

High Conga – Open Slap (L)

(A6)

High Conga – Elbow press – Gliss-down (slow)

(F4)

High Conga – Closed Slap (L)

(A#6)

High Conga – Gliss FX

(B1)

Low Conga – Palm stroke

(C2)

Low Conga – Palm stroke

– Fingers – Center (L) – Fingers – Center (R)

(C#2)

(F#4)

(D2)

(G4)

High Conga – Palm Stroke Fingers – Edge (L)

(B6) High Conga – Base tone (on the ground) (L)

(D#2) Low Conga – Open tone (R)

(G#4) High Conga – Open tone (L)

- 35 -

(C7)

Congas – Sticks (C2) (C#2) (D2) (D#2)

Low Conga – Stick on wooden side

(E2)

Low Conga – Metal Rim (L)

(F2)

Low Conga – Head Rim (L)

(F#2) Low Conga – Buzz-Roll (G2)

Low Conga – Stick on head - Open

(G#2) Low Conga – Stick on head - Muffled (A2)

Low Conga – Stick on head - Open

(A#2) Low Conga – Stick on head - Muffled (B2)

Low Conga – Rim Head (R)

(C3)

Low Conga – Metal Rim (R)

(C#3) Low Conga – Defenario Conga (Low) (D3)

Defenario (between the drums)

(D#3) High Conga – Defenario Conga (High) (E3)

High Conga – Metal Rim (L)

(F3)

High Conga – Rim Head (L)

(F#3) High Conga – Stick on head - Muffled (G#3) High Conga – Stick on head - Open (G#3) High Conga – Stick on head - Muffled (A3)

High Conga – Stick on head - Open

(A#3) High Conga – Buzz-Roll (B3)

High Conga – Head Rim (R)

(C4)

High Conga – Metal Rim (R)

(C#4) (D4)

Low Conga – Stick on wooden side

(D#4) (E4)

- 36 -

Timbalitos – Sticks & Hands (B1) High Timbalito – Sticks - side (C2) (C#2) High Timbalito – Sticks tip - side (D2)

High Timbalito – Sticks – Rim – Press-Roll

(D#2) High Timbalito – Sticks – Roll-to-hit (E2)

High Timbalito – Sticks – Roll (short) - Open

(F2)

High Timbalito – Sticks – Buzz-roll (medium)

(F#2) High Timbalito – Sticks – Buzz-roll (short) (G2)

High Timbalito – Sticks – Buzz-roll (Looped)

(G#2) High Timbalito – Sticks – Roll (medium) - Open (A2)

High Timbalito – Sticks – Roll – Open (looped)

(A#2) High Timbalito – Sticks – Rim – Double stroke (L) (B2)

High Timbalito – Sticks – double stroke (L)

(C3)

High Timbalito – Sticks – Center (L)

(C#3) High Timbalito – Sticks – Rim – Flam (D3)

High Timbalito – Sticks – Center (R)

(D#3) High Timbalito – Sticks – Muffled (E3)

High Timbalito – Sticks – double stroke (R)

(F3)

High Timbalito – Sticks – Rim (R)

(F#3) High Timbalito – Sticks – Rim – Double stroke (R) (G3)

High Timbalito – Sticks – Araniko

(G#3) Low Timbalito – Hands - Muffled (A3)

Low Timbalito – Hands – Center – Fingers

(A#3) Low Timbalito – Hands - Muffled (B3)

Low Timbalito – Hands – Center – Fingers

(C4)

Low Timbalito – Sticks – Center (L)

(C#4) Low Timbalito – Sticks – Center – Flam (D4)

Low Timbalito – Sticks – Center (R)

(D#4) Low Timbalito – Sticks – Center – Muffled (E4)

Low Timbalito – Sticks – Rim - Flam

(F4)

Low Timbalito – Sticks – Rim

(F#4) Low Timbalito – Sticks – Rim – Muffled (G4)

Low Timbalito – Sticks – Roll (long)

(G#4) Low Timbalito – Sticks – Roll (short) (A4)

Low Timbalito – Sticks – Rim – Roll (short)

(A#4) Low Timbalito – Sticks – Roll-to-hit (B4)

Low Timbalito – Sticks – Rim – Press-Roll

(C5) (C#5)

Low Timbalito – Sticks – side

(D5)

- 37 -

Percussion Toys 1 (C1)

(D4)

Cricket – Ring

(D#4)

Cricket – Charge

(E4)

Cricket – Ring-charge

(F4)

Agogo – Low (Edge)

(F#4)

Agogo – Low (Center)

(G4)

Agogo – Mid (Edge)

(G#4)

Agogo – Mid (Center)

(A4)

Agogo – High (Edge)

(A#4)

Agogo – High (Center)

(B4)

Agogo – Mid - Roll (on the inside)

(C5)

Castanet – Single-hit (L)

(C#5)

Castanet - Flams

(D5)

Castanet – Single-hit (R)

(D#5)

Castanet – Roll (short)

African Clave

(E5)

Castanet – Roll (long & looped)

(D#2) Triangle #1 - Muted

(F5)

Castanet – Roll-to-hit

(E2)

Triangle #1 – Muting (from open)

(F#5)

Triangle #2 – Muted

(F2)

Triangle #1 - Open

(G5)

Triangle #2 – Open

(F#2) Triangle #1 - Staccato

(G#5)

Triangle #2 – Staccato

(G2)

Triangle #1 - Open

(A5)

Triangle #2 – Muting (from open)

(G#2) Triangle #1 - Staccatissimo

(A#5)

Triangle #2 – Tremolo (short)

(A2)

(B5)

Triangle #2 – Tremolo (long)

(C6)

Triangle #2 – Muted (Accent)

(C#1) (D1)

Woodblock – Low (Rubber mullet)

(D#1) (E1)

Woodblock – Low (Rubber mullet) - inside

(F1) (F#1)

Woodblock – Low (Wood stick)

(G1) (G#1) (A1)

Woodblock – Low (Wood stick) - inside Clave

(A#1) (B1)

Woodblock – High (Rubber mullet)

(C2) (C#2) (D2)

Woodblock – High (Wood stick)

Cha-Cha Bell (Edge)

(A#2) Cha-Cha Bell (Edge) - Muffled (B2)

Cha-Cha Bell (Center)

(C3)

Mambo Bell (Edge)

(C#3) Mambo Bell (Edge) - Muffled (D3)

Mambo Bell (Center)

(D#3) Mambo Bell (inside) (E3)

Mambo Bell (side)

(F3)

Cow Bell - Low

(F#3) Cow Bell – Low - Muted (G3)

Cow Bell – Mid

(G#3) Cow Bell – Mid - Muted (A3)

Cow Bell - High

(A#3) Cow Bell – High - Muted (B3)

Vibraslap – Waving

(C4)

Vibraslap – Normal

(C#4) Vibraslap – Stopping (from sustain)

- 38 -

Percussion Toys #2: (A-1) Cabasa (out-takes)

(A2)

(A#-1) Chakere (out-takes)

(A#2) Chakere – Strike+After-FX

Chakere – Strike+After-FX (Soft Attack)

(A5)

Tambourine – Cymbal hit

(A#5)

Jingle Bells – Single Movement (Short)

(B-1)

Maracas (out-takes)

(B2)

Chakere – Shake (long)

(B5)

Jingle Bells – Single Movement

(C0)

Tambourine – Side hit (Fast attack)

(C3)

Chakere – Shake (short)

(C6)

Jingle Bells – Tremolo

(C#0)

Tambourine – Movement (Left)

(C#3) Chakere – Strike

(C#6)

Jingle Bells – Hit

(D0)

Tambourine – Movement (Right)

(D3)

(D6)

Jingle Bells – Tremolo

(D#0)

Tambourine Shaker – Tremolo (Medium)

(D#3) Chakere – Base tone (Fingers)

(D#6)

Jingle Bells – Hit

(E0)

Tambourine Shaker – Tremolo (short)

(E3)

Chakere – Hit-on-hand

(E6)

Jingle Bells – Tremolo (Looped)

(F0)

Tambourine Shaker – Up-Down

(F3)

Chakere – Base tone (Palm)

(F6)

Wind Chimes – Medium-Long Segment (Soft)

(F#0)

Tambourine Shaker – Up-Down (Short)

(F#3) Chakere – Shake – Down (Fast attack)

(F#6)

Wind Chimes – (Medium-Long Segment)

(G0)

Tambourine Shaker – Hit

(G3)

(G6)

Wind Chimes – Gliss Down (Medium)

(G#0)

Tambourine Shaker – Down-up (Slow)

(G#3) Chakere – Tilt-Up & Down

(G#6)

Wind Chimes – Medium Segment

(A0)

Tambourine Shaker – Short Movement

(A3)

Chakere – Up-Down

(A6)

Wind Chimes – Gliss Down

(A#0)

Tambourine Shaker – Movement with hit (Long)

(A#3) Maracas – Tremolo (medium)

(A#6)

Wind Chimes – Medium-short Segment

(B0)

Tambourine Shaker - Movement with hit

(B3)

Maracas – Double Tremolo

(B6)

Wind Chimes – Gliss Down

(C1)

Tambourine Shaker – Movement with hit (Soft)

(C4)

Maracas – Tremolo (medium) + Crescendo

(C7)

Wind Chimes – Gliss Up

(C#1)

Tambourine Shaker – Single movement (Accented)

(C#4) Maracas – Backward

(D1)

Tambourine Shaker – Single movement + 1 accent (Soft attack)

(D4)

(D#1)

Cabasa – Sand slide

(D#4) Maracas – Forward

(E1)

Cabasa – Tremolo (Looped)

(E4)

Maracas – Up-Down (L)

(F1)

Cabasa – Strike (side)

(F4)

Maracas – Up-Down (R)

(F#1)

Cabasa – Shake forward (Fast attack)

(F#4) Maracas – Tremolo (medium)

(G1)

Cabasa – Shake forward

(G4)

(G#1)

Cabasa – Shake backward (Fast attack)

(G#4) Tambourine – Side hit

(A1)

Cabasa – Shake backward

(A4)

(A#1)

Cabasa – Sand slide

(A#4) Tambourine – Roll-to-hit

(B1)

Cabasa – Movement (medium-long)

(B4)

Tambourine – Roll (Short)

(C2)

Cabasa – Movement (medium)

(C5)

Tambourine – Roll (Medium)

(C#2)

Cabasa – Sand slide (multiple accents)

(C#5) Tambourine – Roll - Slow (Short)

(D2)

Cabasa – Movement – side (short)

(D5)

(D#2)

Chakere – Tilt-Down (soft)

(D#5) Tambourine – Roll - Slow (Medium)

(E2)

Chakere – Tilt-Up

(E5)

Tambourine – Movement – Up-Down

(F2)

Chakere – Tilt-Up (soft)

(F5)

Tambourine – Lap (L)

(F#2)

Chakere – Tilt-Down (soft)Fast attack

(F#5) Tambourine – Lap (L) – Fast Attack

(G2)

Chakere – Tilt-Down

(G5)

(G#2)

Chakere – Tilt-Down & Up

(G#5) Tambourine – Hit-on-hand

(+ Accents at beginning and end)

Chakere – Shake Up&Down (Fast attack)

Chakere – Shake – Up (Fast attack)

Maracas – Tremolo (Long)

Maracas – Tremolo (medium-short) Tambourine– Roll-to-hit (Fast Attack)

Tambourine – Roll (Long)

Tambourine – Lap (R)

- 39 -

(Medium)

(Short)

(Fast Attack)

(Medium-short)

Percussion Toys 3 (C1)

Ratchet – sustain (Long & Looped) v1

(C#1) Ratchet – sustain (Long & Looped) v2

(D4) (D#4)

Slide Whistle – Gliss-Down & Up – Very Slow

Ratchet – sustain (Long & Looped) v3

(E4)

Slide Whistle – Gliss-Up & Down – Very Slow

(D#1) Ratchet – sustain (Long & Looped) v4

(F4)

Slide Whistle – Gliss-Up & Down – Fast

(D1) (E1)

Ratchet – sustain (Long)

(F#4)

(F1)

Ratchet – Slow & Jerky (Medium-Long)

(G4)

Slide Whistle – Gliss-Down – Very Fast (Soft)

(G#4)

Slide Whistle – Gliss-Up & Down – Slow

(A4)

Slide Whistle – Gliss-Up & Down – Medium

(A#4)

Slide Whistle – Gliss-Up & Down – Fast

(B4)

Slide Whistle – Partial Gliss-Up (Low-Range)

(C5)

Slide Whistle – Partial Gliss-Up (Mid-Low-Range)

(F#1) Ratchet – Slow sustain (Medium-Long) (G1)

Ratchet – Jerky beginning (Medium-Long)

(G#1) Ratchet – Slow sustain (Medium) v1 (A1)

Ratchet – Slow sustain (Medium) v2

(A#1) Ratchet – Sustain (Medium) v1 (B1)

Ratchet – Sustain (Medium) v2

(C#5)

Slide Whistle – Partial Gliss-Up (mid-Range)

(C2)

Ratchet – Fast sustain (Medium) v1

(D5)

Slide Whistle – Partial Gliss-Up (Mid-High-Range)

(D#5)

Slide Whistle – Partial Gliss-Up (High-Range)

(E5)

Slide Whistle – Partial Gliss-Up

(F5)

Slide Whistle – Gliss-Up (medium)

(C#2) Ratchet – Fast sustain (Medium) v2 (D2)

Ratchet – Very fast sustain (Medium)

(D#2) Ratchet – Fast sustain (Medium-Short) v1 (E2)

Ratchet – Fast sustain (Medium-Short) v2

(F#5)

Slide Whistle – Gliss-Up – Fast

(Full-range) v1

(F2)

Ratchet – Sustain (Medium-Short)

(G5)

Slide Whistle – Gliss-Up – Fast

(Full-range) v2

(F#2) Ratchet – Slow Sustain (medium-Short)

(G#5)

Slide Whistle – Gliss-Up – Very Slow (Full-range)

Ratchet – Slow Sustain (Short)

(A5)

Slide Whistle – Gliss-Up – Very Slow (Fading)

(A#5)

Slide Whistle – Gliss-Up – Slow (Fading)

Ratchet – sustain (Short) v2

(B5)

Slide Whistle – Gliss-Up – Wavy

(A#2) Ratchet – sustain (Short) v3

(C6)

Slide Whistle – Gliss-Up + Flutter-tongue

(G2)

(G#2) Ratchet – sustain (Short) v1 (A2) (B2)

Ratchet – sustain (Short) v4

(C3)

Ratchet – sustain (Short) v5

(C#3) Ratchet – Very Short (Staccato) v1 (D3)

Ratchet – Very Short (Staccato) v2

(D#3) Ratchet – Very Short (Staccato) v3 (E3)

Ratchet – Very Short (Staccato) v4

(F3)

Ratchet – (out-take)

(F#3) (G3)

Slide Whistle – Slide only (v1)

(G#3) Slide Whistle – Slide only (v2) (A3)

Slide Whistle – Gliss-Down – Slow

(A#3) Slide Whistle – Gliss-Down – Slow (High) (B3)

Slide Whistle – Gliss-Down – Very Slow

(C4)

Slide Whistle – Gliss-Down – Fast

(C#4) Slide Whistle – Gliss-Down – Very Fast

- 40 -