Capsule User Guide BBR Horn SFX

 

This User Us er Guide applies applies to: Berlin Brass - Horn SFX

 

CAPSULE  

USER GUIDE  

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 www.orchestraltoo  www.orchestra ltools.com ls.com

 

CAPSULE User Guide

CONTENT I Abou outt this User Guide

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II Introduction III III Re Reccord ording and Co Conncept

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IV In Insstr truumen entt Colle Collect ctio ionns

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1 Berlin Series Seri es ........................................... .................................................................. .............................................. .............................................. .......................... ... 8

Berlin Brass Br ass - Horn SFX ....................... .............................................. .............................................. ............................................. ...................... 9

 V Integrated QuickHelp QuickHelp Texts

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 VI Blending With Other Libraries

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 VII Common MI MIDI DI CCs

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 VIII Maximum Voices

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IX GUI Overview

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1 Preset Syst System em ...................... ............................................. .............................................. .............................................. .......................................... ................... 15 2 UI Views ...................... .............................................. ............................................... .............................................. .............................................. .......................... ... 16

Performance View ................................................................................................. 16 Mixer Mi xer Vi View ew ....................... .............................................. .............................................. .............................................. ...................................... ............... 17  Settings View ........................................................................................................ 22 Controller Table View ............................................................................................ 25

X Sin Single Arti Articu culat latio ionn Pa Patc tchhes 1 2 3 4

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Stan dard Art Standard Artic iculat ulation ionss ............................................... ...................................................................... .............................................. .......................... ... 27  Sustai Sus tains ns and Legat Legatoo .................... ........................................... .............................................. .............................................. .................................. ........... 29 FX Builder Bu ilder .................... ............................................ ............................................... .............................................. .............................................. .......................... ... 30 Timee Machi Tim Mac hine-enabled ne-enabled Patc Patches hes ...................... ............................................. .............................................. ...................................... ............... 33

XI Mult Multii Art rtic icuulati lation on Pa Patc tchhes

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1 Multi Mu lti Slot View .................... ........................................... .............................................. .............................................. .......................................... ................... 34 2 Mu Multi lti Loc Locked ked Vi View ew .............................................. ..................................................................... .............................................. .................................. ........... 39

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Rev. 2016-04-13

© 2016 OrchestralTools OrchestralTools G mbH 

 

CAPSULE User Guide

XII Getti ettinng Help Help

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XIII Appendices

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1 Controller Table - Anno Annotated tated Lis Listt .......... ............... .......... .......... .......... .......... .......... .......... .......... .......... .......... .......... .......... .......... .......... ....... 41 2 New Features ...................... ............................................. .............................................. .............................................. .......................................... ................... 52 3 Con Configu figurin ringg Kont Kontakt' akt'ss Out Output putss .............................................. ..................................................................... ...................................... ............... 54

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© 2016 OrchestralTools OrchestralTools Gmb H 

Rev. 2016-04-13

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CAPSULE User Guide

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About this User Guide This document serves as the User Guide for all Orchestral Tools collection releases marked with the Capsule logo on our website. These collections are powered by our Capsule scripting framework, developed in-house for best speed, resource use and usability. This guide is constantly updated as new collections and updates are released. Please make sure you are using the most recent version, which you will automatically get when installing updates. You can also download the most recent version in our Helpdesk.

This document is a special version of the User Guide that only contains features applicable to the collections listed below.  You can download the full fu ll U User ser Guide that applies applies to all O Orchestral rchestral Tools collections coll ections in our Helpdesk. H elpdesk. The following table lists all collections covered by this User Guide with their current CAPSULE version as well as the minimum Kontakt version. Please note that only collections using the same CAPSULE version may be used in the same folder! We advise to keep all collections apart to avoid issues with updates. If in doubt, send us an email and we will be happy to help you out!

Collection Nam e B B R C | B er lin B rass - Hor n SFX

Collection Capsule Kontakt   2.0 60 Full 5.5.1+

Important  This User Guide does not cover downloading, installing and registering Capsule-powered collections. These topics are explained step by step in the respective Installation Guide, which is linked to in your download email (the email containing your download code/serial number). You can also find it in our Helpdesk.

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| About t his User Guide |

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CAPSULE User Guide

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Introduction  Welcome to the Orchestral Or chestral Tools CAPSULE User U ser Guide! CAPSULE (Control And Performance Symphonic Utility Engine) is Orchestral Tools‘ groundbreaking scripting technology  powering  powering a growing number number of collections. collect ions. Capturing details, the creation of emotive tools with a maximum of efficiency and a dedication to the sound led us to the Berlin Series. An ambitious project over many years with the vision to create the most complet com pletee and flexible Virtual Orchestra. Capturing the beautiful details, gestures and colors of a symphonic body inspired us to new innovations in the industry. Recorded in Berlin, we took advantage of the unparalleled acoustics of the room - not too wet to stay  flexible and focussed or to dry to be able to create a fully blendable orchestral body where all the single instruments and sections come together to a single entity. We engaged renowned musicians from the most  famous orchestras in the world  and conceived a whole new workflow, which will instantly support you realising more realistic results in a shorter time . After years of development we were the first to present the  Adapti  Adaptive ve Legato Concept  Con cept . Capsule senses the speed of your playing and does not only only switch automatically automatically between betwe en 3 available legato slots, but also adapts all important controllers and variables in the background to offer you the most fluid legato you ever played. Entering the world of Orchestral Tools also means to be on board on a journey infused with new ideas and the introduction of tools never built before. The Runs Builder lets you create the most convincing fast runs based on pre-recorded micro runs. These are just a few examples of our investment into the future of orchestral orchestr al sampling. Using our extensive set of articulations efficiently is fundamentally important. That´s why we didn’t just develop yet another tool; we conceived a radically new workflow which will instantly support you: The Control A nnd d Performance S ymph  ymphonic onic Utility Engine. Capsule keeps all our different colors with care and integrates perfectly into Native Instruments´ Kontakt at the highest possible system efficiency. We simply improved everything. A for a long time desired multi articulation facility  exists  exists now in parallel to fully flexible single articulation patches. You can easily apply True Legato to any long notes of your choice. There is so much more potential in these brilliantly sampled collections to exhaust. So why simply switch between articulations, when you are able to blend them?  Like a painter mixing colors to create new shades, you can easily do the same with articulations. Doing this in a time-efficient way leads to a wholly new technique:

Polyphonic Keyswitching Keyswitching enables you to stack different colors over each other. Simply press up to 4 keyswitches simultaneously and choose how you want to blend or switch the chosen articulations. Choose between equal power crossfading, velocity switching, MIDI controller switching or open up a whole new world of sounds with our 2D equal power morphing. With an assigned midi CC this is even easier to do. You don´t need to waste time anymore setting up complicated sample mappings. Your samples are now intuitively and easily playable.

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| Introduction |

 

CAPSULE User Guide

We redefined the way how you mix within a Capsule Patch. With the innovative  Auto Gain  the overall volume stays at the same level while you morph between the different microphone positions. A feature that helps you to keep the natural orchestral dynamics in balance. Fast tools like the chaining option or the purge all function will support you to find the sound and timbre to your personal taste in a faster and more elegant way. Every channel can now be routed to an output of your choice. To allow allteam thesere-arranged articulationsthe to stack, and morph, completely overhauled the Berlin Series.and A dedicated naturalswitch orchestral dynamicwebalance between all Berlin instruments articulations, matched the mic position volumes to each other and developed a new approach to set up the release samples in a more natural and organic way. Now each articulation sits wonderfully and convincingly in the best-balanced room you ever heard. One of our key visions for the Capsule is to save time, especially when composers build their own templates. Capsule‘s Controller Table holds all assigned elements and midi controllers in a dedicated list. Once you have set up a custom controller table, you can save it in a preset on your computer to share it between different Capsule instances. It has never been so fast and easy to set up your Berlin Orchestra. Flexibility in Capsule’s single articulation patches is just paramount. Now you can create your very own Round Robin rules. With only one click you can use the neighboring zones to triple the available number of Round Robin samples to add a more organic feel and to avoid any kind of machine gun effect. Also each Round Robin can be controlled individually. Turn off specific dynamic layers to adjust the dynamic range to  your needs or apply our new Niente option  to any articulation, where the dynamic range starts with completely silence. This is an important feature especially with strings, where a tone can evolve from total silence as well as for use with a breath controller. Almost every feature here is available for each articulation in the multi articulation patches as well. But of course, you don´t have to change anything.  We already designed a very playable and optimized setup for you . Just load a patch and play. Orchestral Tools is a sampling project driven by a few composers like you with their vision of a growing orchestral palette. We develop Expansion Sets for all our Main Collections which will extend your personal library in an organic way. Orchestral Tools is a growing project    - always up to date. We constantly work  on existing collections to make them even better and to unleash their full potential. Maybe it is the whole package of an unparalleled sound, innovations, captured details and intuitive handling which has made our products standard tools for many composers over the world.

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| Introduction |

© 2016 OrchestralTools OrchestralTools G mbH 

 

CAPSULE User Guide

III

Recordi ng and Concept We are happy to have found a sonic home for our collections at the Teldex Scoring Stage in Berlin. The large recording stage at Teldex looks back on a long tradition of many well known and Grammy® award winning recordings. Famous orchestras, like the Berlin Philharmonics and great film composers from the USA and Europe trust and love the wide and clear acoustics of this room. One of the best sounding scoring stages in Europe, this room together with wi th a fantastic fantastic complement of legendary microphones microphones catapults catapult s our work to a new level of orchestral sampling. The quality of a sampled collection begins with the recording. Every Orchestral Tools collection is recorded at 96khz  with state of the art equipment. The full editing and post-production process uses these 96khz recordings without downsampling. We very rarely denoise our recordings and never treat them in any other automated way. If tuning is needed, it is done by ear  without  without resorting to tuning algorithms. Only at the very end, right before the samples are mapped into their instruments, the content is converted to 48khz for best use of resources. Our goal is to provide a set of tools that easily adapts to any workflow and creates a coherent sonic representation  of the orchestra. The main way we achieved this is by recording every instrument in its orchestral position. All collections come pre-panned and pre-mixed  with their respective volumes balanced. If there are multiple types of the same instrument, they are recorded in slightly different positions,  yet still st ill in their general section area. The different differe nt snare drums in Berlin Percussion, for example, have been recorded slightly thewhen general "snare drum area" within the percussion section. This allows you to have a very widespread and fullover sound combining multiple instruments. We deliberately choose to also record non-traditional instruments as belonging to a symphonic setup, like electric guitars and a drumset in our Metropolis Ark Series. Modern media scoring introduces a host of new instruments into the established orchestral lineup and we feel these instruments deserve the same care and precision in fitting them into the symphonic sound as their traditional counterparts. All collections feature a number of microphone positions  commonly used in orchestral recording. The position of these microphones is identi identical cal in every collection, which means that for example the Tree is much nearer to the string section that it is to the percussion section (because the percussion section is situated at the back of the orchestra). This enabled lively acoustics  that come pre-mixed for the respective stage position. The choice of mic positions also depends greatly on the instrument. Some instruments, especially in the percussion section, benefit greatly from a M/S position to enable accurately positioning the sound source. Wherever possible, similar instruments use the same mapping scheme  so it is usually possible to transfer MIDI data from one instrument to another easily. This is especially important and useful for percussion.

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| Recording and Concept Concept |

 

CAPSULE User Guide

IV

Instrument Co Collecti ons This section lists details about all instrument collections this User Guide applies to, including a description of the included instruments, features specific to these collections as well as technical details. Please note that all Expansion Collections work standalone and do not require the corresponding Main Collection. This document is a special version of the User Guide that only contains features applicable to the collections listed in the About this User Guide section.  You can download the full fu ll U User ser Guide that applies applies to all O Orchestral rchestral Tools collections coll ections in our Helpdesk. H elpdesk.

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| Instrument Collections Collections |

© 2016 OrchestralTools OrchestralTools G mbH 

 

CAPSULE User Guide

4.1

Berlin Series The Berlin Series is Orchestral Tools' ongoing journey to harnessing the sound of the Teldex Scoring stage in an all-purpose orchestral sample collection. Every major section of the orchestra is represented by one Main Collection, which contains all essentials instruments and articulations and forms the backbone of any symphonic piece. These collections are expanded and continued by special expansion collections, which add additional instruments or playing techniques. The following table lists all Berlin Series Collections currently released - underlined names jump to a description of its content and unique unique features. You can download a ver version sion of this User Guide tthat hat applies to to all rel eased Collections on our Helpdesk. When you load any Berlin Series patch inside Kontakt, the instrument slot will show an icon representing the orchestral section as shown below.

B erlin Woodwinds

B erlin B r ass

B erlin Per cussion

B erlin Strings

Main Collection Additional Instr uments Soloists I Soloists II SFX

Hor n SFX

M ain Collection The Timpani

M ain Collection Special B ows I Special B ows II SFX

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| Instrument Collections | Ber Berlin lin Series

 

CAPSULE User Guide

4.1.1

Berlin Brass - Horn SFX Berlin Brass represents our vision of symphonic brass sampling. This series is currently in active production. Berlin Brass - Horn SFX marks Orchestral Tools‘ first foray into the exciting world of orchestral brass sampling. We have recorded four french horns at our favourite scoring stage - the Teldex Studio in Berlin. The sound of the french horn forms an important part of film music: Not only does the instrument lend itself beautifully sweeping melodic well department. as providingUnder a harmonic backbone to the orchestration, but also frenchtohorns come to shine inlines the as effects the hands (and lung capacity) of a skilled player, the instrument is capable of an almost infinite number of interesting effects. For Berlin Brass - Horn SFX, we took a 4 horn section and recorded them in position both with tutti articulations, as well as each instruments individually. The result is a never before-seen flexibility in creating horn arrangements. Berlin Brass - Horn SFX gives you a quality set of standard articulations, but the real focus of the collection lies on effects. Our innovative cluster builder allows you to assign the articulation for each horn separately without the need for multiple tracks. Automatic voice detection makes playing a breeze. All divisi articulations have been recorded in place for each horn. We hope you will be as blown away as we were when we heard the different approaches of each player to the same articulation. Using the divisi articulations, you in effect get four unique takes of each articulation - it is like four solo horn libraries in one. Plus they blend beautifully. And then there‘s the tutti stuff. Last but not least, we took greatest care to make our piano really piano and our fortissimo really fortissimo. Sampled brass tends to hold back. This won‘t happen in Berlin Brass - Horn SFX. These instrumentalists gave it all they got and now you have the fruit of their labour right under your fingers. We hope you find this collection inspiring and useful for your work. Let the FX begin!

Instrumentat Instr umentation ion and R ecording Berlin Brass - Horn SFX features four french horns played both as a tutti section as well as individually. The patches are organised inside the Instruments folder in Divisi and Tutti subfolders with Single Articulation patches containing a single articulation and Multi Articulation patches providing access to all articulations in one single patch. The Tutti folder contains all tutti articulations, with one articulation per patch. The folderindividual contains instruments the Cluster Builder and Random Staccato with Divisi the four controllable inside the patch.patches, It also contains four subfolders for the four instruments with the articulations separated (again one one articulation art iculation per patch). All instruments are subtly different instruments played by different musicians, not just additional recording passes and have been recorded r ecorded in orchestral orchest ral seating se ating position including including panning. panning. You have free choice between three microphone positions, Close, Mid and Room, the latter being a splendidly lofty Decca Tree with M50s. These microphone positions are switchable in the GUI. Additionally,

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| Instrument Collections | Ber Berlin lin Series

© 2016 OrchestralTools OrchestralTools G mbH 

 

CAPSULE User Guide all core articulations have been recorded with multiple velocity layers for realistic dynamics. All samples have their natural panning.

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| Instrument Collections | Ber Berlin lin Series

 

CAPSULE User Guide

 V

Integrated Integrated Quic QuickHel kHelp p Texts To help you use use these t hese collections to their fullest potential, we have integrated QuickHelp QuickHelp texts for nearly all UI elements. These texts feature short descriptions of the relevant feature. You can find more detailed information in this User Guide.

The texts are displayed in Kontakt's Info Pane. To show this pane, click on the Info Button in Kontakt's toolbar. Hover over an interfa interface ce element to see its associated associated QuickHelp QuickHelp text.

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| Integrated QuickHelp Texts |

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CAPSULE User Guide

 VI

Blending With Other Other Libraries Librarie s We have spent considerable energy on making our collections fit into your existing workflow and make it work together effortlessly e ffortlessly with other libraries you are using. using.

1. The right reverb You Tree/Room can control the amount of room information with the adjustable positions in the presence Mixer View. The position is recommended for composing, providingmicrophone a nice balance between and ambience. ambienc e. Surround and AB AB are much more reverberant reve rberant and best used to add character to the sound. Using the Close position solely allows you to shape the sound even further by using your own reverb - at the expense of losing the natural sound of the Teldex stage. In general we suggest the use of an unobtrusive final reverb rev erb on top of the samples to blend everything eve rything nicely together in a coherent space and to allow for spatial positioning of instruments within the mix (or, in plain words: to move instruments further back or to the front in the mix).

2. Volume Control via Kontakt  We have chosen to not normalise normalise the t he audio samples samples used in our collections. colle ctions. This means means that all samples are ar e at their natural volume, vol ume, making making some instrument ranges much quieter than you may may find in other libraries. libraries . This is intentional to give you the full dynamic spectrum. If you want to raise the overall volume of the patches,  you can either raise the volume v olume of individual patches patches or raise Kontakt’s Kontakt ’s ma master ster volume slider. slider .

Kontakt Master Volume

 Volum e Range Slider   Volume Slider  Dynamics is what makes an orchestra sound good. And incidentally, it is also what makes many mockups sound bad. A piano can be really quiet and a forte can be really loud, not something in-between. Because there is a fixed amount of velocity layers l ayers in any sample library, it can happen happen that a real musician could play that piano part much quieter than your samples do. On the other hand, having the quietest samples at too low a volume can make a library hard to use. We thought thought about this and have have a solution: The volume range slider in the Settings View allows you to set the overall volume range of your instruments between the lowest and the highest velocity. If the Volume Range setting is at 0, the samples will have their recorded dynamic range. Move it to the far rightt and the lowest velocities will righ will be very ve ry quiet while the highest velocities will be pretty loud, giving giving you the full possible dynamic dynamic range. By default, this slider is set to t o give you some nice dynamic range compared to the raw samples while at the same time not leaving you with almost inaudible low velocities. Experiment with this setting and use it in your templates to bring out the full dynamic range of your orchestrations! The volume range feature allows you to blend our collections with your other libraries with ease - but then why would you want other libraries?

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| Blending With Other Libraries |

 

CAPSULE User Guide

 VII

Common Common MIDI MIDI CCs We have taken great care to not clash with your existing MIDI CC allocations for all collections. Most CCs used by Capsule are standard CCs and should work well with your current setup. Nevertheless, the scripts scripts internally inte rnally use a number of additional additional CCs, which w hich are are also available avail able to you as a user in case  you want to adjust settings. Most CCs C Cs are user-assignable, use r-assignable, so you can change change them if you like. l ike. A number of additional arethem. used for internal calculations. These CCs are shielded to the outside so you do not need to worryCCs about Here is a list of all CCs used by default and their use:

CC 1 The modwheel controls morphing through the velocity layers if the X-Fade mode is activated on the Main Knob. You can change this CC in the Controller Table view. CC 11 All patches have CC 11 (Expression) set to control the general patch volume. You can assign this CC freely in the Controller Table. CC 7  In all patches, CC7 is mapped to the Kontakt volume slider. Use CC7 for balancing the collections in your template. You can assign this CC freely in the Controller Table.

CC 3 This CC controls the vibrato mode (select patches only). You can assign this CC freely in the Controller Table. CC64 (Sustain) All Longs patches (as well as of course Longs articulations within Multi Articulation patches) use CC64 to hold currently playing notes after you have let go of their respective keys. In the case of retriggered notes (for example when a new chord uses notes already present in an earlier chord), the note(s) common to both chords will be faded out and retriggered. This allows you to play repeated chords and chord changes in a very realistic manner. This feature works automatically and does not need to be activated. You can assign this CC freely in the Controller Table. CC115 Capsule uses CC115 internally to purge samples. Do not assign this CC to any function and make sure it is not sent automatically by any MIDI device. Do not delete this CC115 assignment in Kontakt's AutomationMIDI tab, otherwise the patches will not work correctly! There is also a warning shown in Kontakt's automation tab. Heed it! CC115 sent by any outside device will be ignored by all Capsule patches.

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| Common MIDI CCs |

© 2016 OrchestralTools OrchestralTools G mbH 

 

CAPSULE User Guide

 VIII

Maximum Voic Voices es Every patch in Kontakt is assigned a maximum number of voices it is allowed to play. If that number is exceeded while playing, Kontakt will automatically stop the earliest played voices still sounding. Kontakt reserves a bit of system memory for every possibly playing voice. That means that if this number is set higherallthan needed, superfluous be a used. By far default, Capsule patches have memory been setwillwith default maximum voice limit tailored to how the particular patch is generally used. That means that Legato patches will have a higher value than for example Trills. Multi Articulation patches have a rather high value to enable complex articulation routings.

M ax i m u m Vo i ces ces

If you use a lot of microphone positions (esp. in Berlin Percussion) and/or have a very dense orchestration,  you might might encounter dropped notes. In this case just raise tthe he maximum maximum voices limit in the Kontakt patch UI. Experiment with the setting to find the sweet spot for your applications. After you have found the value that works for you, just save the patch and it will be recalled every time you load this patch.

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CAPSULE User Guide

IX

GUI Overview   Capsule collections have two distinct types of patches, Single Articulation Patches as well as Multi Articulation Patches. Both share some common features and UI el elements, ements, but they differ in one big respect: re spect: While the Single Articulation Patches feature one articulation each, the Multi Articulation Patches allow you to combine multiple articulations in groundbreaking ways thanks to the power of Capsule. The following sections show the general UI for both patch types with detailed explanations of the features these patches offer. Note that not all features apply to all patches. If you do not see a particular UI element, the patch does not support this particular feature. Note that screenshots show various products depending on which collection is best suited to show that particular feature. Also things might look a bit different on your screen if you have changed the default settings of patches.

9.1

Preset System Capsule features a powerful preset system, which allows you to transfer values and settings between different articulations and instruments. The preset system intelligently applies your settings when you load a preset in any single or multi instruments and will only restore the settings that actually apply to that instrument. All instrument as well as mixer settings will be recalled. So you can for example set up your perfect microphonee mix with the Soft Low Layer option in one patch and reload the same setting microphon set ting into any other patch of the same collection.

Note that the loaded articulations of Multi Instrument Patches are not recalled by design to avoid  wrong assignments. Default Preset  There is one default preset, which you can save and load with one click by clicking the respective buttons in the GUI. This default preset is shared by all Capsule patches within a collection. This means you can set any patch up the way you want it and use the same settings in any other patch just just by loading the default preset. preset . When saving or loading the default preset, a confirmation message will be displayed in the Patch InfoView area in the Performance View.

Default Preset

Individual Presets You can also create individual presets that t hat can be saved under a unique name name and loaded any time. Saving and loading works the same way as with the default preset. Just click the respective button at the top right of the UI. A standard Save/Load dialog will appear giving you access to your file system. You can store these presets anywhere you like; they do not need to be in the collection folder.

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| GUI Overview |

© 2016 OrchestralTools OrchestralTools G mbH 

 

CAPSULE User Guide

9.2

UI Views All patches within the our collections use a tabbed UI separated into four pages, or "views", as we call them. This section describes these four views along with all their features. Individual features may only be present in certain instruments.

Views Selector

9.2.1

Performance View  The Performance View features the most commonly used controls for each patch. In Single Articulation Patches, you will find the Main Knob with its velocity layer display here, as well as Con Sordino, Auto Sustain, vibrato style and other important settings (depending on the instrument). In Multi Articulation Patches, the Performance View is where you load and customize individual articulations, set your control preferences and switch between the selected articulations. The look of the Performance View differs greatly from patch to patch, and even more between Single and Multi Articulation patches. This is why this view is covered in the respective sections later in this User Guide in detail.

Transpose All patches have a < TR > transpose section in their lower left. This feature allows you to transpose the playable range of the whole patch without affecting Transpose keyswitches and other non-playable keys. The transpose controls are very useful if you want to either shift the playable range to conform to a different tuning system (or to play in your favourite key together with instrumentalists when using Capsule live). This feature is also well suited for stacking custom ensembles with octave-shifted instruments, for example Violins I and II in octaves.

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| GUI Overview | UI Views

 

CAPSULE User Guide

9.2.2

Mixer View  The Mixer view gives you full control over the microphone positions available in the collections.

Mixer Channels The mic positions incl. playing noises noises appear in the mixer as individual channels. channels. Each channel channel has the t he same basic feature set and layout, as shown here with the Tree microphones: Name:  At the top the name of the channel is displayed. Click on the name to load or unload that position. Name: At Panning: This Panning:  This slider allows you to set the panning of the selected mic position. Ctrl/Opt-Click the slider to reset it to Center. Solo/Mute: These Solo/Mute:  These work like the Solo/Mute buttons in your sequencer. Volume: Adjust Volume:  Adjust the fader to lower or raise the volume of the mic position. While playing a level meter to the right of the slider will show the current audio level. Ctrl/Opt-Click the fader to reset it to its default value. db Indicator: Below Indicator:  Below the volume fader, you can see the current db setting. 0.0 is default. Chain Button: Press Button:  Press this button to chain all channels with the indicator lit together. Every action performed to any track will also apply to all other chained tracks. Output Selector:  Selector:   Click to select the Kontakt output for this mic position. You may need to configure Kontakt's output matrix first.

Tree Channel Strip

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| GUI Overview | UI Views

© 2016 OrchestralTools OrchestralTools G mbH 

 

CAPSULE User Guide

Global Options To the right of the Mixer View you will find a number of options affecting all mic positions together. These largely save you from needing to press the corresponding button on each individual mic position. Auto Gain: If Gain:  If enabled, the combined volume of all mic positions will stay the same when you change the level of any position. This preserved the dynamic relation of your mic mix while allowing you to put a single position in the foreground fore ground or background. Auto Auto Gain only affects unpurged (loaded) channel channel strips and needs at least two active channels. Chain All: This button chains all positions together, so changes to one position will affect all others equally. Of course Auto Gain will only work if at least one channel is not chained. Solo/Mute: Soloes Solo/Mute:  Soloes or mutes all channels. Purge : Enables or disables and loads or unloads all mic positions. Purge Releases: Releases : Enables or disables and loads or unloads all release samples. Purge Legato Tr ansitions ansitions:: Enables or disables and loads or unloads all legato transitions.

Global Options

Legato Volume In all patches that use legato transitions, the Legato Volume knob lets you adjust the volume of the transitions. This is useful if you want a less pronounced legato effect or if on the opposite  you want the transitions to be more apparent. You can assign a CC to this feature in the Controller Table.

Legato Volume

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CAPSULE User Guide  

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| GUI Overview | UI Views

© 2016 OrchestralTools OrchestralTools G mbH 

 

CAPSULE User Guide

Microphone Positions All patches in the collections have several adjustable microphone positions. You will find faders with on/off buttons for all positions in the Mixer View of each patch: If you switch off a position, its samples will be purged from memory. Conversely, as soon as you switch a position on, the samples will be loaded. Not every instrument has all microphone positions. For example for a lot of instruments an M/S position makes little sense. Note that all microphone positions are identically set up in all collections and correspond to the respective mic setups that are used when recording a musical work at the scoring stage. That means that the Close position is much drier in Berlin Strings than it is in Berlin Percussion, because the percussion section is at the back of the orchestra. This is intentional to preserve the orchestral balance and spacing. To get a really dry sound, use the Spot mics or M/S.

Spot  The spot microphones have been positioned as close to the instrument as possible and give you the driest and most direct sound. Close Increase the amount of the Close position if you want to have a more direct sound with less response of the room. Raising the volume of the Close mics will also increase the playing noises made by the musicians, providing added realism for intimate settings. Tree (Room in BWW) The Tree microphones provide a balance between Close and Surround. Use them to add presence to the sound by allowing some room response in, while still keeping the sound relatively controlled. This is the recommended mic position and and is activated activat ed by default. Mix (BWW (BWW and BBR BB R C only) The Mix position is a mixture between Close and Room. This position has a rather direct sound, but also features a lot of room information for realism. The Room/Close and Mix positions exclude one another to avoid phasing. If you activate the Mix positions, Room and Close will be deactivated and vice versa.

Surround Increase the amount of the Surround position if you want to have as much room information as possible. The reverb will increase while the direct sound sound decreases.  A/B The A/B position features a wide stereo image and is of great use as a supporting microphone   ote

You do not need to think about adjusting the mic positions if you do not want to! When you load any  instrument into Kontakt, the Tree will be active, which is perfect for most applications.

Noise (select instruments) The playing noises made by instruments add a lot of realism to a sampled performance. This is why most instruments feature sampled playing noises which can be added to taste. These appear as an extra mic

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CAPSULE User Guide position in the mixer and are extensively controllable. You can even make them independent from regular velocity layer switching (see Settings View).

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CAPSULE User Guide

9.2.3

Settings Setti ngs View  The settings view provides a place to edit settings unique to the loaded patch (in the cast of Single Articulation patches) or settings that apply to all articulations loaded in a Multi Articulation patch. The following section describes the features and UI elements you will find in this view. Note that not all articulations support all of the listed features; regular shorts or longs for example do not have tempo control. Multi Articulation Patches have some of these settings in their Multi Slot View when editing the Instrument Settings.

Dynamics The dynamics area lets you select how the collections shape the dynamics when you play.

Dynamics

Niente:  If enabled, the lowest dynamic setting (usually CC1 at 0 or key velocity at 0) will cause the Niente:  instrument to be completely silent. Use this setting when using your instruments with a breath or wind controller. Soft Low Layer: If Layer:  If checked, the lowest dynamic layer will first be increased in volume when controlling dynamics and only later the next layer will begin to fade in, allowing softer low dynamics. Ignore Noises:  Noises:   This option makes the playing noises (wind or bow, depending on the library) not be affected by the Niente option. This way the noises will still be present even if playing very softly.

Layers The Layers section lets you enable or disable specific velocity layers.

Layers

 Volum e Range  Volume This slider adjusts the volume scaling of the recorded velocity layers to allow for greater or narrower dynamic range.

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Volume Range Range

Cutoff Filter  This slider enables or disables the cutoff filter. This filter applies special EQ settings to the sound that enable for exampleEach morepatch realistic influences high but also the core resonance. uses piano its owndynamics. customizedThe filterfilter setting tailoredthe to the usefrequencies, of that particular patch.

Cutoff

 Attack/Release  Attack/Release This area has three rotary encoders to intelligently adjust the ADSR curve of the samples.

Attack/Release

Attack:  Adjusts the attack of the main instrument samples. Attack: Adjusts Attackk Curve: Adjusts Attac Curve:  Adjusts the attack of the main instrument samples. Release: Adj Release:  Adjusts usts the release time time of the main main instrument instrument releases, so they get "drier" or "wetter". "we tter". If release rel ease samples are purged in the Mixer View, the release knob will adjust to the ADSR curve of the main samples. The knob will reflect either setting.

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Round Robin The RR area gives you detailed control over the round robins in each patch. The options shown below are present in all patches with multiple Round Robins. If a patch does not have recorded Round Robins you will only see the Fake Neighbor RRs option.

Round Robin

Fake Neighbor RR:  RR:   If checked, the instrument will create faked RRs by "borrowing" samples from neighboring notes and pitching them. Random RR: This RR:  This options randomizes the order of played RRs. If disabled, RRs will be played in sequence. Polyphonic RR: If RR:  If enabled, only one RR is advanced in the sequence (or randomized) when playing cchords. hords. New Note Resets: This Resets:  This option resets the RR sequence when a new pitch is played. Reset RRhere. after ms: If ms:  If no notes are played, the RR sequence resets to the start after the time in milliseconds entered

RR Layers The RR Layers area features one checkbox for every available recorded RR. You can enable and disable (and by this purge/reload from memory if used in a Single Articulation patch) specific RRs here. If no RR Layers is visible, the patch does not have recorded Round Robins.

RR Layers

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9.2.4

Controllerr T Controlle Table able View  The Controller Table view is the central place to assign keys on your MIDI keyboard as well as MIDI CC (continuous controller) messages to features of Capsule. Every parameter and feature that can be directly influenced by the user is listed here in multiple pages. If a particular option is not available for the current patch/articulation, it will spell out INACTIVE. For all other options you willdisplay see awill toggle switch in the left oftothe table. IfMIDI younote. enable the option, the Controller Curve appear along withtop controls setcontroller the CC and/or

When a controller comes in (by CC or keyswitch) its respective entry in the Controller Table will show a small dot in front of the name. The current value of a controller is displayed by a highlighted area at the bottom of the Controller Table.

Active Controller

Assigning Controller Controllerss There are several ways to assign a feature to a specific note or controller. Auto Assign You can directly assign any feature in Capsule by holding Alt (Windows) (Windows) / Option (OSX) and clicking on the parameter you want to assign anywhere in any view of the patches. This will immediately take you to the respective assignment in the Controller Table view. Now just press a key on your MIDI keyboard you want to assign (if the controll controll er you want to assign can be assigned to a MIDI Note), or move any fader to send a MIDI CC. Your selection will then be mapped to this feature. You can assign multiple controllers to the same MIDI CC or Note. Manual Assignment Alternatively, select the feature you want to assign by using the next page/previous page buttons until you see the function you want to assign. Click on it to select it.

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CAPSULE User Guide Now you can a)  press "listen" to map any incoming MIDI data (note or CC). If that controller is not enabled yet, it will be enabled automatically once you press "listen". b) select a CC or note by choosing it from the selection menu below the curve window. You can also set this to "Off" to not assign a CC, but keep your presets and settings. Note: If you assign a MIDI Note inside the playable range of the patch or on the same key as one of the keyswitches in a Multi Articulation patch, that note will be moved one octave so the assignments do not clash. This behaviour cannot be overridden.

Controller Curve The middle of the Controller Table prominently features a graphical display of the current control curve. You can draw your desired curve in with the mouse or use the preset button to open a menu with a number of commonly comm only used curves. curve s.

Available Controllers The Controller Table hosts all - that is ALL - options and settings you can adjust in any patch. Therefore the list of available controllers is very long. To let you make best possible use out of the plethora of available options, we have compiled a reference of all available controllers with their default values in the Controller Table - Annotated List.

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X

Si ngle Ar Articulation Patches All collections have a large complement of Single Articulation patches, which form the backbone of the collections. Each of those patches contains a single articulation with GUI optimized and set up for this articulation. Exceptions this contain rule are multiple the Legato patches, whose interface looks a bit different otheraspatches and which in atoway articulations (by means of the Adaptive Legato)toasthewell the Cluster Builder and Runs Builder, which feature a different user interface. All these patches use the four UI Views and all work in very much the same way. In the following sections,  you will learn about the different patches and how they are used. These descriptions also apply to the corresponding articulations when loaded inside a Multi Articulation patch.

10.1 Stan tandard dard Arti Articu cula lati tion onss Performance Perform ance Vi ew Single Articulation patches in their Performance View contain the Main Knob for velocity layer control, as well as other commonly used features. Below the Main Knob you will see the patch name, the version of the collection it belongs to as well as the Capsule version. If a patch does not support a particular feature, its controls are not shown in this view.

Info View The Info View pane at the bottom of the Performance View shows the patch name as well as the version of this particular collection and the version of Capsule used by this collection. When any keyswitched feature is triggered (like the Round Robin Reset, Soft Release, etc...), the InfoView shows the triggered feature by its name.

Info View - Patch Info

Info View - Keyswitch Display

Main Knob The Main Knob is a key component of using any collection. It allows you to select one of two ways to control the velocity of played notes: 1) Velocity (how hard you press the keys on your MIDI keyboard)

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CAPSULE User Guide 2) X-Fade (lets you control the volume via the modwheel) Legato and sustained articulations are set to X-Fade (modwheel) by default. Portato uses X-Fade. Staccato and Staccato Short use Velocity by default because they are much more easily playable this way. Click on the Main Knob to toggle between these two settings. Note that some articulations are fixed to the X-Fade mode and can not be changed.

Main Knob

You can re-assign the CC used for the X-Fade setting by Alt/Opt-Clicking on the Main Knob. This will open the Controller Table where you can assign a new CC by moving your corresponding fader/encoder or whatever input source you are using. In the middle of the Main Knob, the current velocity layer is displayed. As you morph through the layers, this value will change to reflect the active layer. If no text is visible, you are in the middle of two layers. Note that this display represents the actual recorded samples. So if you have p / mf / f in the display, that not only tells you that there are three actual layers per note, but also which one is currently active. This is a huge help when creating realistic mockups because you are told by the library that “right now those violas are playing mf”. When the display says mf, what you are hearing is the actual sound of the violas playing mf, not just a random sample lowered or raised in volume! If an articulation has only a single velocity layer, the Main Knob will show "Single Layer" in the lower portion.

Mute Instrument Keyswitch Every Single Articulation Patch can be assigned a custom Mute Instrument keyswitch in the Controller Table that mutes/unmutes all sound from that patch. This is useful when stacking patches to switch off elements of the stack while playing, as well as when using multiple patches on the same MIDI channel to have all articulations of an instrument on the same track while still being able to use the benefits of the Single Articulation patches. While a patch is muted, the UI will show a message telling you to unmute the patch by either triggering the keyswitch again or by clicking on the message window.

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10.2 Sustain tainss an and Leg Legat ato o Most collections have true legato (interval sampling) for all sections and solo instruments. To achieve the highest level of realism and detail, we have recorded every interval up to an octave. That means you will hear the natural transitions from one note to another. Every true legato patch is sampled with three dynamic crossfade layers. Capsule uses an Adaptive Legato technology. While you play, the instrument analyses your playing style and adjusts the transitions automatically. You can configure configure the high and low threshold thre shold in the Patch Settings. Set tings.

Vel. Thresholds

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10.3 FX Builder  Berlin Brass - Horns SFX 

Berlin Brass Expansion C - Horn FX features two patches based on Orchestral Tools‘ FX Builder Engine: The Random Staccato patch and the Cluster Builder. Both patches use a similar GUI, but differ in their usage. Both patches are described in the following section.

Cluster Builder

BB R C - Clu Cluster ster Builder

The Cluster Builder marks Orchestral Tools‘ newest approach on solving a problem that has existed every since the advent of sampling: How to create ultra-realistic effects that adapt to what the user wants to write without overly complicated calculations or resorting to pre-recorded loops, which lack flexibility?

Articulations

The Cluster Builder, in a nutshell, gives you access to the four horns in our section. We recorded Sustains, Bendings, Fluttertongue, Trills and Stopped Sustains for each horn. The script lets you play each horn with its individual articulation independently from the others. So one horn can play sustained notes, while a second horn performs a trill, a third plays bendings and the fourth horn will join in playing fluttertongue. In addition, you can select a target pitch for each horn individually. The target pitch determines how far the

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CAPSULE User Guide horn is allowed to stray from the tonal center (= the key you pressed) when playing a cluster. This setting is of course automatable as usual by assigning a CC (right-click on any target pitch box to assign one).

Target Pitch

The transform feature now is where the magic happens: Move the CC assigned to the Transform knob to morph from playing unison in the chosen articulation to playing at the target pitch. This means that with a target pitch of 3, the instrument will sound 3 quarter tones higher when the Transform knob is set to maximum. Values in-between will result in something somewhere in the middle (go figure!). The transition is absolutely seamless - this way you can morph in and out of a custom cluster in exactly the tempo you need. By default, all four horns will play when you press a key. Pressing multiple keys results in an increased number numb er of instruments sounding. sounding.

Auto Divisi

To help you create clusters with realistic voice distribution and the ability to have instruments come in one after another, we implemented a divisi feature: The Auto Divisi button distributes the notes you play to the four horns. The first note will go to the first horn, the second to the second, and so on. When the Auto Divisi button is enabled, a selection menu will appear where you can select the order in which the four horns are played. So for example if you want to the third horn to play the second note you press, you can change the order here. To reset the counter (so the next note you play will be treated as the first in sequence), press C0.

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Cluster Random Staccato

BBR C- Cluster Random Staccato

Random staccato notes are a powerful effect, not only for creating a general feel of uneasiness in a piece by working against the rhythmic backbone, backbone, but also (and even more sso!) o!) by using variable pitches, adding a (a)-tonal layer. Try using this effect subtly in pieces otherwise rooted in traditional harmony - the effect is staggering, especially at low velocities! The Cluster Random Staccato patch works in a similar way to the Cluster Builder. You set a target pitch for each horn and use a pre-defined CC to transform the sound from the root note (the note you play on your MIDI keyboard) to the maximum pitch. In addition, there is a speed dial, which controls the frequency of random notes. Of course this parameter is automatable, too.

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10.4 Time Time Mach Machin ine-en e-enab abled led Pa Patch tches es Most patches in most collections are also available as special Time Machine-enabled patches. You can recognize these patches by their name, which contains “TM”. Time Machine-enabled patches work the same way as their regular counterparts, but have one additional UI element. The TM Slider allows you to adjust the length of the samples in real time. This lets you make staccatos sharper or shape a marcato to your desired length. The release samples are unaffected by these changes, so the natural ambience of the room is preserved. It is advisable advisable to use the TM slider within sensible sensible limits. limits. The extreme ex treme ends e nds of the spectrum will yield results that are interesting for sound design, but have little in common with the original instrument. Less is more. Note that there are no TM patches for Legato and Playable Glissandos for technical reasons.

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Multi Articu iculation Patches All collections in addition to the Single Articulation Patches features a large number of groundbreaking Multi Articulation Patches. Rather than just providing access to multiple articulations in one patch (they do that, too, of course), these patches allow you to combine different articulations and morph between them freely. You can also apply legato transitions to every “long” articulation. So if you were so inclined, here‘s your chance for Legato Trills. Some special articulations like Scale Runs are combined in one Multi Patch, for example Scale Runs or Dynamics. There are no corresponding Single Articulation patches for these. Depending on the collection, there may be individual patches for Longs, Shorts, etc., or all articulations may be set up in a single patch. This mostly depends on the number of total articulations. This section of the User Guide describes the UI and usage of the Multi Articulation patches. The individual articulations loaded inside a Multi Articulation patch work the same way as their Single Articulations counterparts. So please refer to the respective sections of the User Guide to learn more about these articulations. The notable difference is the legato behaviour: Since the Multi Articulation Patches allow you to use legato transitions or behaviour (scripted legato) with any articulation, there are no 1:1 counterparts to the regular Single Articulation legato patches.

11.1 Multi Slot Vie View  w  The Slot View of Multi Articulation Patches looks vastly different to its Performance View counterpart for Single Articulation patches. Each Multi Articulation Patch contains 12 slots for hosting individual articulations.

Empty slots have . . . as their slot name. Occupied slots show an abbreviation for the articulation loaded in them with an icon for that articulation displayed beneath. The icon in a graphical way tells you a bit about how the articulation sounds. A slur left of the slot name (like in the 1st slot above) means that legato transitions are active for that slot.

Choosing Articulations If you click on a slot, a menu will open that allows you to select an articulation. Use the scroll arrows to cycle through the different articulation pages. Click X or click the articulation name again to close the menu. The menu will also close when selecting an articulation.

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CAPSULE User Guide The vertical CLEAR Button to the left of the slots clears all currently loaded articulations so all twelve slots are empty.

Articulation Selector

Legato and Settings To the side of the menu there the legato button (displaying a slur) and the settings button (with a wrench). Click the slur icon (it will light up if active) to switch on the legato mode. You can configure which transitions to use as well as other options in the settings page by clicking the settings icon. These options largely are the same found in their Single Articulation counterparts' Performance View.

Legato Styles

You can select up to three different legato zones accessed by playing speed. If you only need one or two types of legato, just just set two t wo or even three slots sl ots to the same legato type. The other settings displayed on this page correspond to the settings of that particular Single Articulation in the Settings View.   ot e

The setting made on this page apply only to the selected articulation. Global settings are set in the Se Settttin inggs View .

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Selecting Articulations There are multiple ways of selecting an articulation: 1) Click on the icon displayed below the slot name to select an articulation. 2a) If the KS Mono/KS Poly switch is set to Mono, you can use freely assignable keyswitches to select any of the 12 slots. Use the buttons in the lower left of the patch to move the keyswitches. In this mode you can switch articulations any Mono/Poly KS time and the newly selected articulation will become active with the next played note even if notes are still held in polyphonic playing. 2b) It is also possible to select any slot with a MIDI CC. You can assign any MIDI CC you like to the MI Slot Switch CC If both the original slot as well as the slot switched to has legato enabled, a legato transition will be played connecting the slots enabling fluent changes between legato articulations. If the slot switched to does not have legato enabled, the original slot will still be connected and afterwards muted, but without a further transition after the initial connection. Tip 

Ctrl/Cmd-Click on the buttons to move the keyswitches directly adjacent to the lowest playable  note of the patch. On very low instruments the keyswitches will be moved adjacent to the top of the  range. Shift-Click on the buttons to move the start of the keyswitches to C0. Very low instruments (like  BST Basses) B asses) will have their keyswitches start at C6. 3) If the KS Mono/KS Poly switch is set to Poly, the full power of Capsule is unleashed with Poly Keyswitching and Morphing M orphing..  Attention

The playable range of an articulation is displayed via coloured keys in Kontakt‘s on-screen keyboard. If  monophonic keyswitching is active, the displayed range is the range of the currently selected slot. If any  polyphonic switching/morphing mode is active, the displayed range is the combined range of all slots. In this case single articulations (for example flageolet) may have silent notes.

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Polyphonic Keyswitching/M Keyswitching/Morphing orphing Capsule introduces the ability to have more than one keyswitch (or, in this case, slot) enabled at the same time. You can select up to four slots at a time by pressing multiple keyswitches at the same time. The newly selected slot(s) will become active for all new notes as soon as all already sounding notes are released. Already sounding notes are not affected and will also not be cut off when selecting other keyswitches.

KS Modes

Capsule not only allows switching between multiple selected slots via different means, but also morphing freely between them. There are two modes for switching and two for morphing, selected by either clicking the respective button or by a CC defined defined in the Controller Table: CC Switch With this option selected, the CC assigned to X Fade/Switch in the Controller Table will switch between the selected slots. For this, by default the range of the CC is divided by the number of selected keyswitches, for example 128/4 if four slots are selected. Vel Switch This option works in a similar way to CC Switch, but instead of a MIDI CC, the slots will be switched by key velocity. Again by default the number of selected keyswitches determines the value range in which each slot will react. CC XFade XFade Instead of switching through the selected sel ected slots, sl ots, this option will morph between betwe en them using the X Fade/Switch CC. by default the number of selected keyswitches determines the value range in which each slot will react.   ot e

When using the CC Switch or CC XFade modes, the lower portion of the Active Slots display will show  the current state of the respective CC by highlighting that section of the display.

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CAPSULE User Guide CC XFade 2D The 2D XFade allows you to morph freely between up to four slots using equal power crossfading. Each corner of the graphic displayed in the UI represents one of the slots soloed. Use the CCs assigned to X Fade/Switch and Y Fade (2D) in the Controller Table to move between the slots.

2D XFade

In any of the modes you can change the selected slots at any time simply by pressing different keyswitches.

Custom Velocity/CC Thresholds If any Poly KS mode is active, the value boxes at the left of all but the first active slot control the switch thresholds for either CC or velocity, depending on the mode selected. If Vel Switch is selected, the boxes control the velocities where Capsule will switch. This way you can for example set the first and last slot to only trigger on very soft or high velocities, respectively, whereas the middle slot(s) will use a much broader value range. If CC Switch is selected, the boxes control the CC values where the switch will take place. You can for example set the second slot to trigger from CC value 10, the third one from 90 and the fourth one only if a CC value v alue of 127 is received. Custom thresholds are not available in the XFade modes (CC XFade or 2D XFade).

Switching to Locked View Capsule's Multi Articulation patches are intended for creating your custom switching and layering solutions as well as for building unique Legato articulations. To help you preserve your custom patches, Multi Artic patches feature a Locked View that freezes the current instrument settings. Click the Lock icon next to the preset controls controls to enter or leave Locked View.

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11.2 Multi Locked cked View  View  The Multi Articulation Patches provide vast control over combining and blending articulations as well as the ability to create custom legato patches with any long note articulation. The Locked View introduces a way to preserve custom-created patches using up to four articulations.

Click the Lock icon next to the preset controls controls to enter or leave Locked View. A locked patch is frozen with its settings (active articulations, KS mode, velocity layers, RRs, etc...) as they were set at the point of entering Locked View. When locked, all samples not currently used are purged from memory. As long as Locked View is active, not articulations can be changed and the instrument is immune to any settings changes via CC, as well.

Interface When the Locked View is shown, the Multi Articulation UI changes to an interface more alike to Single Articulation Patches: The Main Knob in the middle of the interface shows the current velocity or CC assigned to layer switching. Note that Velocity/X-Fade control are set per patch in the patch options in the Slot View, not by clicking on the Main Knob like in Single Articulation patches. The right of the interface shows the enabled articulations. The Locked View essentially serves to enable creating and storing custom-built articulation patches that behave similar to Adaptive Single Articulation patches like the Legato patches.

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XII

Getting Help We hope this Guide showed you how to unleash the potential of all collections. If you have any additional questions or need help installing collections, we have a number of options for  you to get help as fast as possible.

1. The O T Helpdesk

Before sending us an email, please first refer to the OT Helpdesk at helpdesk.orchestraltools.com, which has answers to the most common user questions. There you will also find detailed Folder Listings to verify that all your collections are correctly installed. The Helpdesk covers a lot of topics and chances are high you will an answer there in a fraction of the time it would take you to contact us. Here are a few important topics: Downloading the newest Installation Guide and User Guide Everything about download and installation Folder Structure listing l istingss of all Orchestral Tools collections

2. Direct eMail support If your question is not answered on the Helpdesk, you can reach OT Support by email to [email protected] For direct help with download issues using Continuata Connect, please contact [email protected]  Just send us an email, describe your issue and we will get back to t o you usually usuall y tthe he same working wor king day. OT Support is staffed every working day 09:00 to 16:00. Orchestral Tools is based in Germany, so if we do not reply soon, it is most likely night over here! You can also send us a support ticket via the Helpdesk, but regular email will be just as fast. No ticket IDs, no registration for an account, nothing. Just help when you need it. Please include as much information as possible, especially your system specs, sequencer version and Kontakt version. Screenshots also help tremendously.

3. Personal Remote Support If your issue can't be resolved speedily via email or if you are completely stuck with something, send us an email and we will be happy to assist you via remote support. This is done with a small and secure application that lets us see what you see on your screen and has proven to be a cure for even the nastiest tech issues.

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Appendices This section contains several appendices like a list of all controllers available in the Controller Table, how to configure Kontakt's outputs, etc...

13.1 Cont Contro roller ller Table Table - Annot Annotat ated ed Lis Listt The Controller Table view allows you to map MIDI CCs and/or keyswitches to controller features in Capsule. This section contains a list of all controllers along with short descriptions of what they do and what you can assign them to. All controllers have four bits of information attached to them: Used by:   Tells you which collection(s) use this controller; for example all Solo Berlin Woodwinds, or all Berlin Strings. Strings. Assignable Assign able to: t o:  Controllers can be assigned to a MIDI CC, a MIDI note, or both. Default Value:  Some controls have a default value set by Orchestral Tools. If they do, this will tell you what it is. Description:  Provides a short description what the controller does.

Dynamics Dynamic XFade Used by:  All "Long" articulations; but can be set and used for "Shorts", too. Assignable Assign able to: t o:  MIDI CC Default Value:  CC1 (Modwheel) Description:   The assigned CC controls the dynamics of the instruments by morphing through the enabled velocity layers. This is the default control scheme for "Long" articulations, though you can also enable and use it for "Shorts", too. XFade/Velocity Mode XFade/Velocity Used by:  All Single Articulation patches in all collections. Assignable Assign able to: t o:  MIDI CC Default Value:  CC14 Description:  The assigned CC switches between dynamic control via the CC set at Dynamic XFade or by keyboard velocity. Instrument Vol.1 Used by:  All patches in all collections. Assignable Assign able to: t o:  MIDI CC Default Value:  CC7 (Volume) Description:  The assigned CC along with its Instrument Vol.2 counterpart controls the patch volume.

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CAPSULE User Guide Instrument Vol.2 Used by:  All patches in all collections. Assignable Assign able to: t o:  MIDI CC Default Value:  CC11 (Expression) Description:  The assigned CC along with its Instrument Vol.1 counterpart controls the patch volume. Sustain Pedal Used by:  All patches in all collections. Assignable Assign able to: t o:  MIDI CC, MIDI Note Default Value:  CC64 (Sustain Pedal) Description:  The assigned CC or MIDI Note controls the Sustain Pedal, holding pressed notes. Note the the Berlin Eng E ngine ine intelligently retriggers re-pressed notes while the Sustain Pedal Pedal is held. Soft Release Used by:  All patches in all collections. Assignable Assign able to: t o:  MIDI CC, MIDI Note Default Value:  CC15 Description:  The assigned CC or MIDI Note performs a Soft Release of the current note(s) when enabled. True Damping Used by:  All BPC Range articulations that support True Damping. Assignable Assign able to: t o:  MIDI CC Default Value:  Off Description:  The assigned CC switches the True Damping behaviour on or off. Dynamic Switch Used by:  All Berlin Percussion Single Artic patches with velocity-controlled articulations. Assignable Assign able to: t o:  MIDI CC Default Value:  Off Description:   The assigned CC makes velocity-controlled keys switch between velocity layers instead of crossfading them. Auto Sustain Used by:  Select Metropolis Ark Series patches. patches. Assignable Assign able to: t o:  MIDI CC Default Value:  Off Description:  The assigned CC switches the Auto Sustain behaviour on or off. Stop Key Used by:  All patches that support Auto Sustain. Assignable Assign able to: t o:  MIDI CC, MIDI Note Default Value:  F0 Description:  The assigned CC or MIDI Note stops the currently sounding note if Auto Sustain is switched on.

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CAPSULE User Guide

Performance Vibrato Slider Used by:  All "Long" Single Articulations with multiple vibrato styles. Assignable Assign able to: t o:  MIDI CCs Default Value:  CC3 Description:   The assigned CC switches between the different vibrato styles available for the current articulation. Con Sordino Used by:  All Berlin Strings patches. Assignable Assign able to: t o:  MIDI CC Default Value:  CC24 Description:  The assigned CC switches the Con Sordino simulation on or off. Alternative Transition Used by:  All Nocturne Series legato articulations. Assignable Assign able to: t o:  MIDI CC, MIDI Note Default Value:  CC64 Description:  The assigned CC toggles Alternative Transitions. 1st UsedLegato by:  All Zone Legato Single Articulations. Assignable Assign able to: t o:  MIDI CC, MIDI Note Default Value:  A-1 Description:  The assigned CC makes the current Legato Patch use the 1st Legato style. 2nd Legato Zone Used by:  All Legato Single Articulations using a 2nd Legato Legato Zone. Assignable Assign able to: t o:  MIDI CC, MIDI Note Default Value:  Bb-1 Description:  The assigned CC makes the current Legato Patch use the 2nd Legato style. 3rd Legato Zone Used by:  All Legato Single Articulations using a 3rd Legato Zone. Assignable Assign able to: t o:  MIDI CC, MIDI Note Default Value:  B B-1 1 Description:  The assigned CC makes the current Legato Patch use the 3rd Legato style. 4th Legato Zone Used by:  All Legato Single Articulations using a 4th Legato Zone. Assignable Assign able to: t o:  MIDI CC, MIDI Note Default Value:  B B-1 1 Description:  The assigned CC makes the current Legato Patch use the 4th Legato style.

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CAPSULE User Guide Retongued Legato Used by:  Selected Berlin Woodwinds Soloists Legato Single Articulations. Assignable Assign able to: t o:  MIDI CC, MIDI Note Default Value:  CC52 Description:  The assigned CC makes the current Legato Patch use the Retongued Legato style. X Reverse Used by:  Selected Berlin Woodwinds Soloists Legato Single Articulations. Assignable to: Assignable t o:  MIDI CC, MIDI Note Default Value:  Off Description:  The assigned CC or MIDI Note treats the velocity of the first note in a sequence as usual (i.e. low velocity = decresc), but any following note with the opposite setting (i.e. cresc in this case). Breath Noise Used by:  Berlin Woodwinds Soloists Legato Single Articulations. Assignable Assign able to: t o:  MIDI CC, MIDI Note Default Value:  B B-1 1 Description:  The assigned CC or MIDI Note plays a breath noise for added realism.

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CAPSULE User Guide

Instrument Options RR Reset Key Used by:  All patches in all collections. Assignable Assign able to: t o:  MIDI CC, MIDI Note Default Value:  A-1 Description:  The assigned CC or MIDI Note resets the Round Robin counter to zero. Lock To Host Used by:  All patches using Time-Stretching in all collections. Assignable Assign able to: t o:  MIDI CC Default Value:  Off Description:  The assigned CC switches between patches following the host tempo or following a Manual Tempo set inside the instrument. Tempo Mode Used by:  All patches using Time-Stretching in all collections.. Assignable Assign able to: t o:  MIDI CC Default Value:  CC50 Description:  The assigned CC moves the tempo mode slider. Auto Tempo Used by:  All patches using Time-Stretching in all collections. Assignable Assign able to: t o:  MIDI CC Default Value:  Off Description:  The assigned CC switches between patches automatically selecting the best-sounding option for the Tempo Slider and you needing to move this slider manually. Manual Tempo Used by:  All patches using Time-Stretching in all collections. Assignable Assign able to: t o:  MIDI CC Default Value:  CC51 Description:  The assigned CC selects the BPM used for the articulation if Lock To Host is off. Niente Used by:  All patches in all collections. Assignable to: Assignable t o:  MIDI CC, MIDI Note Default Value:  Off Description: With the assigned CC or MIDI Note, the lowest dynamic setting (usually CC1 at 0) will cause the instrument to be completely silent. Use this setting when using your instruments with a breath or wind controller.

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CAPSULE User Guide Soft Low Layer Used by:  All patches in all collections. Assignable Assign able to: t o:  MIDI CC, MIDI Note Default Value:  Off Description:  With the assigned CC or MIDI Note, the lowest dynamic layer will first be increased in volume when controlling dynamics and only later the next layer will begin to fade in, allowing softer low dynamics. Ignore Noises Used by:  All patches in all collections. Assignable Assign able to: t o:  MIDI CC, MIDI Note Default Value:  Off Description:   The assigned CC or MIDI Note makes the playing noises (wind or bow, depending on the library) not be affected by the Niente and Soft Low Layer option. This way the noises will still be present even if playing very softly. Volume Range Used by:  All Single Articulation patches in all collections. Assignable Assign able to: t o:  MIDI CC Default Value:  Off Description:  The assigned CC adjusts the volume scaling of the recorded velocity layers to allow for greater or narrower narrowe r dynamic range. range. Lock to Beat Used by:  All Time machine-enabled patches in all collections. Assignable Assign able to: t o:  MIDI CC Default Value:  Off Description:  The assigned CC lets the played sample start on the next full beat. Cutoff Filter On/Off On/Off Used by:  All patches in all collections. Assignable Assign able to: t o:  MIDI CC, MIDI Note Default Value:  Off Description:  The assigned CC or MIDI Note switches the Cutoff Filter on or off. Cutoff Filter Filter C C Used by:  All patches in all collections. Assignable to: Assignable t o:  MIDI CC Default Value:  CC1 Description:  The assigned CC controls the Cutoff Filter. Attack Used by:  All patches in all collections. Assignable Assign able to: t o:  MIDI CC Default Value:  CC73 Description:  The assigned CC controls the articulation attack parameter.

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CAPSULE User Guide Attack Curve Attack Used by:  All patches in all collections. Assignable Assign able to: t o:  MIDI CC Default Value:  CC74 Description:  The assigned CC controls the articulation attack curve. Release Used by:  All patches in all collections. Assignable Assign able to: t o:  MIDI CC Default Value:  CC72 Description:  The assigned CC controls the articulation release parameter. Time Stretching Used by: All TimeMachine-enabled patches in all collections. Assignable Assign able to: t o:  MIDI CC Default Value:  CC51 Description:  The assigned CC controls the time stretching parameter. Pedal Sound Used by: All patches with recorded pedal noise. Assignable Assign able to: t o:  MIDI CC Default Value: Off Description: The assigned CC controls the level of pedal noise. Hammer On/Pull Off Used by:  All Electric E lectric Guitar patches. patches. Assignable Assign able to: t o:  MIDI CC, MIDI Note Default Value:  Off Description: The assigned CC or MIDI Note moves the attack startpoint of any played note to omit the sound of the plectrum. Legato Volume Used by: All Legato patches in all collections. Assignable Assign able to: t o:  MIDI CC Default Value:  Off Description:  The assigned CC controls the volume of the legato transitions. Mute Instrument Used by: All Single Articulation patches in all collections. Assignable Assign able to: t o:  MIDI CC, MIDI Note Default Value: Off Description: The assigned CC mutes and unmutes the instrument.

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CAPSULE User Guide

Mixer Teldex IR Used by:  All Soloists Series patches. Assignable Assign able to: t o:  MIDI CC, MIDI Note Default Value:  Off Description:  The assigned CC or MIDI Note switches the Teldex Impulse Response on or off. Teldex IR Dry Used by:  All Soloists Series patches. Assignable Assign able to: t o:  MIDI CC Default Value:  Off Description:  The assigned CC controls the amount of dry signal in the patch. Teldex IR Wet Used by:  All Soloists Series patches. Assignable Assign able to: t o:  MIDI CC Default Value:  Off Description:  The assigned CC controls the amount of wet signal in the patch. Teldex IR Predelay Used by: Series patches. Assignable Assign able All to: t o: Soloists  MIDI CC Default Value:  Off Description:  The assigned CC controls the pre-delay time in the patch. Fader Used by:  All patches in all collections. Assignable Assign able to: t o:  MIDI CC Default Value:  Depends on Mic Position Description:  The assigned CC controls the fader level of the mic position. Solo Used by:  All patches in all collections. Assignable Assign able to: t o:  MIDI CC Default Value:  Depends on Mic Position Description:  The assigned CC controls the solo state of the mic position. Mute Used by:  All patches in all collections. Assignable Assign able to: t o:  MIDI CC Default Value:  Depends on Mic Position Description:  The assigned CC controls the mute state of the mic position.

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CAPSULE User Guide Pan Used by:  All patches in all collections. Assignable Assign able to: t o:  MIDI CC Default Value:  Depends on Mic Position Description:  The assigned CC controls the panning of the mic position. Purge Used by:  All patches in all collections. Assignable Assign able to: t o:  MIDI CC Default Value:  Depends on Mic Position Description:  The assigned CC loads or unloads the mic position.

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CAPSULE User Guide

Multi Artic Settings The following controllers are only relevant for Multi Articulation Patches MI - M ono/Poly ono/Poly Mode Used by:  All Multi Articulation patches. Assignable Assign able to: t o:  MIDI CC Default Value:  Off Description:  The assigned CC switches between bet ween monophonic monophonic keyswitching keys witching and polyphonic polyphonic keyswitching. MI - Vel . Switch Mode Used by:  All Multi Articulation patches. Assignable Assign able to: t o:  MIDI CC Default Value:  CC25 Description:  The assigned CC sets polyphonic keyswitching to switch by playing velocity. MI - CC Switch Mode Used by:  All Multi Articulation patches. Assignable Assign able to: t o:  MIDI CC Default Value:  CC26 Description:  The assigned CC sets polyphonic keyswitching to switch by sending the X Axis MIDI CC. MI - C C XFade Mode Used by:  All Multi Articulation patches. Assignable Assign able to: t o:  MIDI CC Default Value:  CC27 Description:  The assigned CC sets polyphonic keyswitching to crossfade by sending the X Axis MIDI CC. MI - 2D XFade XFade Mode Used by:  All Multi Articulation patches. Assignable Assign able to: t o:  MIDI CC Default Value:  CC28 Description:  The assigned CC sets polyphonic keyswitching to crossfade using 2D morphing via the X Axis and Y Axis MIDI CCs. MI - X Fade/Switch Fade/Switch Used by:  All Multi Articulation patches. Assignable Assign able to: t o:  MIDI CC Default Value:  CC22 Description:   The assigned CC controls the polyphonic keyswitching if set to CC Switch or XFade and controls the X Axis in the 2D XFade.

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CAPSULE User Guide MI - Y Fade 2D) Used by:  All Multi Articulation patches. Assignable Assign able to: t o:  MIDI CC Default Value:  CC23 Description:  The assigned CC controls the Y Axis in the 2D XFade. MI - Slot Switch CC Used by:  All Multi Articulation patches. Assignable Assign able to: t o:  MIDI CC Default Value:  Off Description:  The assigned CC switches between Slots. Leg Artic On/Off Used by:  All Multi Articulation patches. Assignable Assign able to: t o:  MIDI CC Default Value:  CC30 Description:  The assigned CC switches the legato on or off for the respective slot in the Multi Articulation patch.

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CAPSULE User Guide

13.2 New Fea eattures This section lists new features added in new Capsule versions. Depending on which version of Capsule a collection uses, these feature may not be part of all collections  yet, but will wil l be added in later updates. The Patch Info View in each patch shows the Capsule version used in that collection.

Capsule 2.5 Important: Capsule 2.5 now requires Kontakt 5.5.1 or higher.

Lower RAM Usage Us age and optimized optimized loading times All patches now use 7-10 MB less system memory per patch and load much faster. The backend has been optimized for speed and redraw speeds should be much faster now, too. Idle connection times improved (VE Pro / Cubase disabled tracks) When using using Capsule patch in Vienna Vienna Ensemble Pro or in Cubase, conn connection ection times will be much faster. This affects connecting to VE Pro instances hosting Capsule as well as enabling disabled tracks in Cubase. When using Bounce in Place/Freeze, rendering times are much faster now, as well. Transpose Playable Playable Range ItThis is now possible playable of all keyswitches patches with and the great sectionforin creating the bottom left. feature shifts to thetranspose playablethe range only, range preserving octave shifts.

Legato Transition Volume The Mixer View now has a knob to adjust the volume of the legato transitions. This knob is assignable to a CC in the Controller Table. Clear all slots for Multi Articulation Patches All Multi Articulation patches now have a new button to clear all slots with one click. Use CC to select Slots in Multi Articulation Patches You can assign a MIDI CC to the MI - Slot Switch CC controller in the Controller Table that will switch between the loaded slots in a Multi Articulation Patch. Note that this feature is only active if no Poly KS mode is enabled.  Velocity/CC Thresholds  Velocity/CC Th resholds for f or Multi Mul ti Articulation Patches It is now possible to set custom switch/morph thresholds for the selected slots in the Multi Articulation Patches. This allows you to set the CC or Velocity range in which a certain articulation will trigger. Mute Instrument Keyswitch for Single Articulation Patches In all Single Articulation Patches, a keyswitch can be assigned to mute/unmute the instrument. This is especially useful when using multiple patches on the same MIDI channel either for stacking or to reduce track count.

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CAPSULE User Guide

CC State in the Controller Table In the Controller Table, the current state of the selected controller is now shown by a highlighted part of the lower table border. This allows you to see the current setting of controllers at a glance.

Capsule 2.2 Monophonic Keyswitching while notes are held When in monophonic mode, switching between slots in Multi Articulation Patches is now possible while notes are still held.

Capsule 2.1 Tempo Sync follows tempo changes All tempo-synced patches (like the Trills Measured) will now dynamically follow your host tempo while you change it. This means you can have trills that get faster while playing without having to retrigger the note. Poly KS/Fade will now show the state When you use Poly KS/XFade, you can now see the current state at the bottom of the articulation view. The current setting will light up. Locked View  All now as have Locked Viewpress represented a lockEverything icon in the left. It works thispurged way: Set the Multis multi patch youa want it, then the lockby button. elselower not selected will be andupa UI similar to the Single Artic Patches will show up. Click the lock again to go back to the regular Slot View.

Single Layer articulations show "Single Layer" in the Main Knob When an articulation has a single velocity layer, it will now show "Single Layer" in its Main Knob. Lock to Beat  When enabled, all tempo-synced patches will start at the next beat. So for example when playing a Trill or a run, it will be enough to press it before the beat you want it to start on. Capsule will make sure it will be triggered exactly on the beat. Incoming Controllers shown in Controller Table The Controller Table will now show a lit dot in front of the respective Controller Table entry when that controller comes in.

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CAPSULE User Guide

13.3 Conf Config igur urin ing g Kont Kontakt akt's 's Out utpu puts ts Quite often you will want to (or need to) route different microphones to different outputs within Kontakt so  you can treat them independently within your sequencer. By default, Kontakt only has a few outputs activated. This section tells you how to enable more outputs and how to save this as the default configuration, so you only need to do it once. 1) Show the Outputs Pane by clicking the Output button in Kontakt's menu bar. 2) Click on Add Channels and choose the options as shown below. Depending on which version of the plugin you loaded, you can select as many outputs as you need.

3) Press Ok and the new settings will be applied and saved as the default.

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