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Broadway Big Band Kontakt EditionManual v1.02a
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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http://www.fablesounds.com/registerhttp://www.fablesounds.com/register/access.php?action=newuser
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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 pre-recorded
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 key-switch 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 key-switches
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 Key-switch
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 key-switching. 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 sweet-spot
stereo mix-down and a 24bit/44.1Khz down-conversion, to reduce it
to a more manageable size.
Multi-channel outputThat 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 MicA 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 micA 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 MicA 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 live-room 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 MICA 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 MicA 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 micA 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 MicA 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 live-room 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 MicA 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 pop-section.
Mic3: Loose micA 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 MicA 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 live-room 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 MicA 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 micA 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.
- 14 -
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Mic 4: Room MicA 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 live-room 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 XylophoneThe 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
Key-switches
Behavior Comments
Sustain prog vibLegatoSmear into note Press (D0) Passive
TempSmear legato Press (D0) Passive TempGlide down Press (F#0)
Passive Temp
Soprano Sax
Articulation Required Playing States
Key-switches Behavior Comments
Sustain no vib Click (C1) Passive State-changeSwitch to sustain
no vib Hold (A0) + Click (C1) Active State-changeSustain vib Click
(D1) Passive State-changeSwitch to sustain vib Hold (A0) + Click
(D1) Active State-changeLegato no vib Vibrato NoneLegato vib
Vibrato NormalSmear into note Press (D0) Passive TempStaccatissimo
Press (C#0) Passive TempStaccato Press (D#0) Passive TempLegato to
short Press (C#0) or (D#0) Passive TempRip up into short note Hold
(C#0) + Press (D0) Passive Temp
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Alto-Sax-1
Articulation Required Playing States
Key-switches Behavior Comments
Sustain Prog Vib Growl Off (E0) Click(C1) Passive
State-changeSwitch to Sustain Prog Vib
Growl Off (E0) Hold(A0) + Click(C1) Active State-change
Sustain Deep Vib Growl Off (E0) Click(D1) Passive
State-changeSwitch to Sustain Deep Vib
Growl Off (E0) Hold(A0) + Click(D1) Active State-change
Sustain with Growl Click(F0) Active State-changeGrowl Off
Click(E0) Active State-changeLegato Play notes in an overlapping
fashion
(legato) to trigger the articulation.
Staccato Press(D#0) Passive TempStaccatissimo Press(C#0) Passive
TempLegato to short Press(C#0) or (D#0) 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.
Fall down fast Growl Off (E0) Press(F#0) Passive / Active
TempFall down fast w growl Growl On (F0) Press(F#0) Passive /
Active TempGlide down Growl Off (E0) Hold(C#0) + Press(F#0) Passive
/ Active TempFall down slow Hold(C#0)+(D#0) + Press(F#0) Passive /
Active TempFall up Hold(D#0) + Press(F#0) Passive / Active TempFall
up slow Hold(B0) + Press(F#0) Passive / Active TempSmear into
sustain Press(D0) Passive TempSlow smear into sustain
Hold(C#0)+(D#0) + Press(D0) Passive TempSmear legato Press(D0)
Passive Temp Hold key-switch while a note is played,
then play a second note in an overlapping fashion (legato) to
trigger the articulation.
Sforzzando Press(G#0) Passive TempMarcato + Dirty Vibrato
Press(G0) or
Hold(A0)+Press(G#0)Passive / Active Temp
Grace Note Press(A#0) Passive Temp
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Tenor-Sax-1
Articulation Required Playing States
Key-switches 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-changeSustain No Vib Growl Off (E0) Hold (B0) + Click
(C1) Passive State-change Hold down the A0 to actively
switch to this vibrato from an already played sample
Switch to sustain no vib Growl Off (E0) Hold (A0)+(B0) + Click
(C1) Active State-changeSustain Strong Vib Hold (A0) + Click (A#0)
Passive State-changeLegato (prog vib) Play notes in an
overlapping
fashion (legato) to trigger the articulation.
Staccatissimo Press (C#0) Passive TempStaccato Press (D#0)
Passive TempLegato to short Press (C#0) or (D#0) 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.
Smear into note Growl Off (E0) Press (D0) Passive TempSmear w/
Growl Growl On (F0) Press (D0) Passive TempSlow smear into note
Hold (D#0) + Hold (C#0) + Press (D0) Passive TempRip up into short
note Hold (D#0) + Press (D0) Passive TempGrowl Sustain Click (F0)
Active State-changeGrowl Off Click (E0) Active State-changeFall
Down Fast Growl Off (E0) Press (F#0) Passive / Active TempFall Down
Fast w/ Growl Growl On (F0) Press (F#0) Passive / Active TempGlide
Down Growl Off (E0) Hold (C#0) + Press (F#0) Passive / Active
TempGlidw Down w/ Growl Growl On (F0) Hold (C#0) + Press (F#0)
Passive / Active TempFall Down Slow Hold (C#0) + Hold (D#0) + Press
(F#0) Passive / Active TempFall Up Hold (D#0) + Press (F#0) Passive
/ Active TempMarccato + Dirty Vibrato Press (G0) or
Hold (A0) + Press (G#0)Passive / Active Temp
Marccato + Mild Vibrato Hold (B0) + Press (G#0) Passive
TempMarccato + No Vibrato Hold (C#0) +Press (D#0) Passive
TempSforzzando Press (G#0) Passive TempSforzzando + Cresc Fast Hold
(C#0) + Press (G#0) Passive TempSforzzando + Cresc Slow Hold (D#0)
+ Press (G#0) Passive TempAlternate Fingering Press (C#1)Clap FX
Hold (C#0) + Hold (D#0) + Press (G#0) Passive Temp
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Alto-Sax-2
Articulation Required Playing States
Key-switches Behavior Comments
Sustain Prog VibStaccatissimo Press (C#0) or (D#0) Passive
TempFall Down Fast Press (F#0) Passive / Active Temp
Tenor-Sax-2
Articulation Required Playing States
Key-switches Behavior Comments
Sustain Deep Vibrato Click (C1) Passive State-changeSustain No
Vibrato Hold (B0) + Click (C1) Passive State-changeLegato (prog
vib) Play notes in an overlapping
fashion (legato) to trigger the articulation.
Staccatissimo Press (C#0) Passive TempStaccato Press (D#0)
Passive TempLegato to short Press (C#0) or (D#0) Passive TempSmear
into note Press (D0) Passive TempSlow smear into note Hold (D#0) +
Hold (C#0) + Press (D0) Passive TempFall Down Fast Press (F#0)
Passive / Active TempFall Down Slow Hold (C#0) + Hold (D#0) + Press
(F#0) Passive / Active TempFall Up Hold (D#0) + Press (F#0) Passive
/ Active TempSforzzando Press (G#0) Passive Temp
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Bari-Sax
Articulation Required Playing States
Key-switches Behavior Comments
Sustain No Vib Growl Off (E0)
Click (C1) Passive State-change
Switch to Sustain No Vib Growl Off (E0)
Hold (A0) + Click (C1) Active State-change
Sustain Vib Growl Off (E0)
Click (D1) Passive State-change
Switch to Sustain Vib Growl Off (E0)
Hold (B0)+Click (D1) Active State-change
Legato no-vib no-vib Play notes in an overlapping fashion
(legato) to trigger the articulation.
Legato with vibrato deep-vibGrowl Sustain Click (F0) Active
State-changeGrowl Off Click (E0) Active State-changeStaccatissimo
Press (C#0) Passive TempStaccato Press (D#0) Passive TempDouble
staccato Hold (C#0) +Press (D#0) Passive TempTriple staccato Hold
(B0) + Click (A#0) Passive TempLegato to short Press (C#0) or (D#0)
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
Smear into sustain Press (D0) Passive TempSforzzando Press (G#0)
Passive TempSforzzando + Cresc - Fast Hold (C#0) + Press (G#0)
Passive TempSforzzando + Cresc Slow Hold (D#0) + Press (G#0)
Passive TempGrace note sustain Press (A#0) Passive TempGrace note
short min2-up Hold (D#0) + Press (A#0) Passive TempGrace note short
maj2-up Hold (C#0) + Press (A#0) Passive TempGrace note short
min2-down
Hold (C#0) + Hold (D#0) + Press (A#0) Passive Temp
Double grace note short Hold (C#0) + Press (D0) Passive Temp
- 22 -
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Trumpet-1
Articulation Required Playing States
Key-switches Behavior Comments
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) Play notes in an overlapping
fashion (legato) to trigger the articulation.
Staccato Plunger Off (E1) Press (D#0) Passive TempStaccatissimo
Plunger Off (E1) Press (C#0) Passive TempLegato to short Plunger
Off (E1) Press (C#0) or (D#0) 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.
Fall down fast Flutter Off (E0) Hold (C#0) + Press (F#0) Passive
/ Active TempFall down slow Press (F#0) Passive / Active TempFall
down very slow Hold (C#0) + Hold (D#0) + Press (F#0) Passive /
Active TempFall up (doit) Hold (D#0) + Press (F#0) Passive / Active
TempFall up slow Hold (B0) + Press (F#0) Passive / Active TempSmear
into sustain Press (D0) Passive TempRip up into short note Hold
(D#0) + Press (D0) Passive TempRip down to sustain Hold (C#0) +
Press (D0) Passive TempRip up to sustain no vib Flutter Off (E0)
Hold (D#0) + Hold (C#0) + Press (D0) Passive TempRip up to sustain
deep vib Flutter Off (E0) Hold (D#0) + Hold (C#0) + Press (D0)
Passive TempSmear down and back Hold (A0) + Press (D0) Passive
TempSfz + Cresc - Fast Hold (C#0) + Press (G#0) Passive TempSfz +
Cresc Slow Hold (D#0) + Press (G#0) Passive TempMarccato + Mild
vibrato Hold (A0) + Press (G#0) Passive TempShake Fast Hold (A0) +
Press (A#0) Passive TempShake Slow Hold (A0) + Hold (B0) + Press
(A#0) Passive TempGrace Note Press (A#0) Passive TempChromatic Runs
Press (D#1) Passive Temp Affects the note-
transition style when playing legato (overlapping notes)
- 23 -
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Articulation Required Playing States
Key-switches Behavior Comments
Rip Portamento Press (C#1) Passive Temp Affects the
note-transition style when playing legato (overlapping notes)
Rip Portamento to short Hold (D#0) + Press (C#1) Passive Temp
Affects the note-transition style when playing legato (overlapping
notes)
Flutter sustains Click (F0) Active State-changeGrowl sustains
Hold (A0) + Click (F0) Active State-changeFlutter/Growl Off Click
(E0) Active State-changeFlutter Hard attack Flutter On (F0) Press
(G0) Passive TempFall down (fast) with flutter Flutter On (F0)
Press (F#0) Passive / Active TempRip up to sustain with flutter
Flutter On (F0) Hold (D#0) + Hold (C#0) + Press (D0) Passive
TempPlunger On Click (F1) Passive State-changePlunger Off Click
(E1) Passive State-changePlunger 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
TempStaccato open plunger Plunger On (F1) Press (D#0) Passive
Temp
- 24 -
-
Trombone
Articulation Required Playing States
Key-switches Behavior Comments
Sustain no vib Flutter Off (E0) Click (C1) Passive
State-changeSwitch to sustain no vib Flutter Off (E0) Hold
(A0)+Click (C1) Active State-changeSustain vib Flutter Off (E0)
Click (D1) Passive State-changeSwitch to sustain vib Flutter Off
(E0) Hold (A0)+Click (D1) Active State-changeLegato Flutter Off
(E0)Flutter tongue Click (F0) Active State-changeFlutter Off Click
(E0) Active State-changeSustain hard attack Flutter Off (E0) Click
(G0) Passive TempFlutter sustain hard attack Flutter On (F0) Click
(G0) Passive TempGliss Portamento Flutter Off (E0) Click (C#1)
Passive TempGliss Portamento w/ Flutter
Flutter On (F0) Click (C#1) Passive Temp
Sforzzando Press (G#0) Passive TempSforzzando + Cresc Fast Hold
(C#0) + Press (G#0) Passive TempSforzzando + Cresc Slow
Hold (D#0) + Press (G#0) Passive Temp
Staccatissimo Flutter Off (E0) Press (C#0) Passive TempStaccato
Flutter Off (E0) Press (D#0) Passive TempFlutter Staccato Flutter
On (F0) Press (C#0) or (D#0) Passive TempSmear 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 TempGlide into
staccato Hold (D#0) + Press (D0) Passive TempRip up into short note
Hold (C#0) + Press (D0) Passive TempFall Down Fast Flutter Off (E0)
Press (F#0) Passive / Active TempFall Down Fast w Flutter Flutter
On (F0) Press (F#0) Passive / Active TempGlide Down Flutter Off
(E0) Hold (C#0) + Press (F#0) Passive / Active TempFall Down Slow
Hold (C#0) + Hold (D#0) + Press (F#0) Passive / Active TempWow
(marccato) Hold (B0) + Press (G#0) Passive TempPlunger On Click
(F1) Passive State-changePlunger Off Click (E1) Passive
State-changePlunger 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 -
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Articulation Required Playing States
Key-switches Behavior Comments
Plunger Pattern 4 Plunger On (F1)Flutter Off (E0)
Hold (B0)+Click (D1) Passive State-change
Smear w/ plunger + flutter Plunger On (F1)Flutter Off (E0)
Press (D0) Passive Temp
Flutter w/ closed plunger Plunger On (F1)Flutter On (F0)
- 26 -
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Trumpet-1 Harmon Mute
Articulation Required Playing States
Key-switches Behavior Comments
Sustain Prog Vib Plunger Off (E1)Stem Off (E0)
Click (C1) Passive State-change
Stem Sustain Plunger Off (E1) Click (F0) Passive
State-changeStem Off Click (E0) Passive State-changePlunger On
Click (F1) Passive State-changePlunger Off Click (E1) Passive
State-changeWah Wah Pattern 1 Plunger On (F1) Click (C1) Passive
State-changeWah Wah Pattern 2 Plunger On (F1) Hold (B0)+Click (C1)
Passive State-changeWah Wah Pattern 3 Plunger On (F1) Click (D1)
Passive State-changeWah 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
TempStaccato closed stem Plunger Off (F1) Press (C#0) Passive
TempStaccato open stem Plunger Off (F1) Press (D#0) Passive
TempShake Fast Hold (A0) + Press (A#0) Passive TempFall Down Fast
Press (F#0) Passive / Active TempFall 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 Playing States
Key-switches Behavior Comments
Sustain No Vib Click (C1) Passive State-changeSustain Deep Vib
Click (D1) Passive State-changeStaccato Press (C#0) or (D#0)
Passive TempShake Fast Hold (A0) + Press (A#0) Passive TempFall
Down Fast Press (F#0) Passive / Active
Temp
- 27 -
-
Trumpet-2
Articulation Required Playing States
Key-switches Behavior Comments
Sustain Prog Vib Flutter Off (E0) Passive State-changeFlutter
tonguing Click (F0) Active State-changeFlutter Off Click (E0)
Active State-changeStaccato Press (C#0) or (D#0) Passive TempFall
Down Fast Press (F#0) Passive / Active TempFall Down Slow Hold
(C#0) + Hold (D#0) + Press (F#0) Passive / Active TempFall Up
(Doit) Hold (D#0) + Press (F#0) Passive / Active TempSforzzando
Click (G#0) Passive TempSforzzando + Cresc Fast Hold (C#0) + Press
(G#0) Passive Temp
Trumpet-2 Harmon Mute
Articulation Required Playing States
Key-switches Behavior Comments
Sustain Prog Vib This is the only articulation of this
instrument.
Trombone Straight Mute
Articulation Required Playing States
Key-switches Behavior Comments
Sustain No VibStaccato Press (C#0) or (D#0) Passive TempFall
Down Fast Press (F#0) Passive / Active Temp
Trombone Bucket Mute
Articulation Required Playing States
Key-switches Behavior Comments
Sustain Vib This is the only articulation of this
instrument.
- 28 -
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Upright-Bass
Articulation Required Playing States
Key-switches Behavior Comments
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
Xylophone Rubber
Articulation Required Playing States
Key-switches Behavior Comments
OpenAdd scrape releases Press (D#0) Passive Temp Use this when
playing glissandos.Tremolo Press (G0) Passive Temp Releasing a note
triggers a new note.
Xylophone Plastic
Articulation Required Playing States
Key-switches Behavior Comments
Open Click (E0) Passive State-change
Muted Click (F0) Passive State-change
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 Releasing a note triggers a new
note.
- 29 -
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Ukulele
Articulation Required Playing States
Key-switches Behavior Comments
Up Stroke Click (C1) Passive State-change
Down Stroke Click (D1) Passive State-change
Temporary Up Stroke Press (F#0) Passive Temp
Temporary Down Stroke Press (A#0) Passive Temp
Enter strum mode Click (F1) Passive State-change
Exit strum mode Click (E1) Passive State-change
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 -
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Banjo
Articulation Required Playing States
Key-switches Behavior Comments
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 -
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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) SD - double hit (Left) (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) SD Center (Left) (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) SD Center (Right) (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) SD - double hit (Right) (E4) Splash Left
(D#1) SD Rim Shot Center (F4) Splash Right
(E1) SD Roll to hit (F#4) 16 Crash Harmonics
(F1) (G4) 16 Crash Edge (Left)
(F#1) (G#4) 16 Crash Bell (Left)
(G1) HH Closed edge (Left) (A4) 16 Crash Tip (Left)
(G#1) HH Closed Tip (Left) (A#4) 16 Crash Bell (Right)
(A1) HH Closed Edge (Right) (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) HH Open Edge (Left) (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) Floor Drum Edge (Left) (A5) 19 Crash Edge (Right)
(G#2) Floor Drum Rim (Left) (A#5) 19 Crash Chocking
(A2) Floor Drum Center (Left) (B5) 19 Crash Chock (hit)
(A#2) Floor Drum Rim (Right)
(B2) Floor Drum Center (Right)
(C3) Floor Drum Edge (Right)
- 32 -
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Drum kit brushes
(B-1) Kick drum (C#3) (A#5) Crash-Ride Brush Scrape (Slow)
(C0) Kick drum - Soft (D3) Low Reck Brush Center (L)
(B5)Crash-Ride Brush hit(C#0) (D#3) (C6)
(D0) SD Medium Swish (Accent at beginning & end)
(E3) Low Reck Brush Center (R) (C#6) Crash-Ride Choking
(D#0) SD Medium Swish (Accent at end) (F3)Low Reck Brush
Muted
(D6) Crash-Ride Chock (sticks)
(E0) SD Short Swish (Accent at beginning) (F#3) (D#6)
(F0) SD Muted Brush hit (L) (G3) (E6)
(F#0) SD Long Swish (Accent in middle) (G#3) (F6)
(G0) SD Brush hit center (L) (A3) Hi Reck Brush Center (L) (F#6)
20 Ride Brush Scrape (Slow)
(G#0) SD Swish Looped(Accent at beginning)
(A#3) (G6) 20 Ride Brush hit (L)
(A0) SD Brush hit center (R) (B3) Hi Reck Brush Center (R) (G#6)
20 Ride Brush Scrape (Fast)
(A#0) SD Long Swish (Hard attack) (C4)Hi Reck Brush Muted
(A6) 20 Ride Brush hit (R)
(B0) SD Muted Brush hit (R) (C#4) (A#6) 20 Ride Choking
SD Short Swish (Accent at end) (D4) (B6)
(C#1) SD Swish (multiple soft Accents) (D#4) Splash Chock -
(sticks) (C7)
(D1) SD Medium Swish (E4) Splash Brush hit (Left)
(D#1) SD Brush scrape (out-take) (F4) Splash Brush hit
(Right)
(E1) SD Slow Swish (Accent at beginning & end)
(F#4)
(F1) (G4)
(F#1) SD Short Swish-to-hit (G#4)
(G1) SD Medium Swish-to-hit (A4)
(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 (Slow)
(C2) HH Stomp (D5) 16 Crash Chock - (sticks)
(C#2) HH Brush - Open (L) (D#5)
(D2) HH Stomp (slow legato) (E5)
(D#2) HH Brush Open (R) (F5)
(E2) (F#5)
(F2) HH Brush Bark (G5)
(F#2) (G#5)
(G2) Floor Drum Brush Center (L) (A5)
(G#2)
(A2) Floor Drum Brush Center (R)
(A#2)Floor Drum Brush Muted(B2)
(C3)
- 33 -
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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
(G0) (A3) Low-Bongo Roll (Looped)
(G#0) Low-Bongo Wipe (1st direction) (A#3)
(A0) Low-Bongo Finger-tip 5(L) (B3)
(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) Low-Bongo Finger-tip 2(L) (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) Low-Bongo Finger 3 (L) (A4) High-Bongo Finger 5 (L)
(G#1) Low-Bongo Finger run (L) (A#4) High-Bongo Flam -
Fingers
(A1) Low-Bongo Finger 2 (L) (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) Low-Bongo Muffled (L) (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) Low-Bongo Finger-tip 2(R) (A5) High-Bongo Finger 5(R)
(G#2) Low-Bongo Finger run (R) (A#5) High-Bongo Wipe-Tremolo
(Looped)
(A2) Low-Bongo Finger 3 (R) (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) Hi-Bongo Wipe (2nd
direction)
- 34 -
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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 (R) (C#5) High Conga
Muffled tone (R)
(E0) Low Conga finger tip 5 (L) (A2) Low Conga Palm stroke
fingers edge (R)
(D5)
(F0) Low Conga finger tip 4 (L) (A#2) Low Conga Base tone off
ground (R) (D#5) High Conga Open tone (R)
(F#0) (B2) Low Conga One finger on edge Muffled (R)
(E5) High Conga Base tone (on the ground) (R)
(G0) Low Conga finger tip 3 (L) (C3) (F5) High Conga Closed Slap
(R)
(G#0) Low Conga Finger run (L) (C#3) (F#5)
(A0) Low Conga finger tip 2 (L) (D3) Low Conga finger tip 2 (R)
(G5) High Conga Open Slap (R)
(A#0) (D#3) Low Conga finger run (R) (G#5) High Conga Base tone
Closed fist (R)
(B0) (E3) Low Conga finger tip 3 (R) (A5) High Conga Palm Stroke
Fingers Edge (R)
(C1) Low Conga Finger on edge (Muffled) (F3) Low Conga finger
tip 4 (R) (A#5) High Conga Base tone (off the ground) (R)
(C#1) Low Conga Muffled tone (R) (F#3) Low Conga Double finger
run (R) (B5) High Conga One finger on edge Muffled (R)
(D1) Low Conga Palm stroke fingers edge (L)
(G3) Low Conga finger tip 5 (R) (C6) High Conga One finger on
edge Open (R)
(D#1) Low Conga Base tone Fist (L) (G#3) High Conga finger run
(L) (C#6) High Conga Middle Elbow press (R)
(E1) (A3) High Conga finger tip 2 (L) (D6) High Conga finger tip
2 (R)
(F1) Low Conga Closed slap High (L) (A#3) High Conga High Elbow
press (L) (D#6) High Conga finger run (R)
(F#1) (B3) High Conga One finger on edge Open (L)
(E6) High Conga finger tip 3 (R)
(G1) Low Conga Base tone on ground (L) (C4) High Conga One
finger on edge Muffled (L)
(F6) High Conga finger tip 4 (R)
(G#1) Low Conga Open tone (L) (C#4) High Conga Base tone (off
the ground) (L)
(F#6) High Conga Flam with open Slaps
(A1) (D4) High Conga Palm Stroke Fingers Edge (L)
(G6) High Conga finger tip 5 (R)
(A#1) Low Conga Muffled tone (L) (D#4) High Conga Base tone
Closed fist (L)
(G#6) High Conga Flam with closed Slaps
(B1) Low Conga Palm stroke Fingers Center (L)
(E4) High Conga Open Slap (L) (A6) High Conga Elbow press
Gliss-down (slow)
(C2) Low Conga Palm stroke Fingers Center (R)
(F4) High Conga Closed Slap (L) (A#6) High Conga Gliss FX
(C#2) (F#4) (B6)
(D2) (G4) High Conga Base tone (on the ground) (L)
(C7)
(D#2) Low Conga Open tone (R) (G#4) High Conga Open tone (L)
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Congas Sticks
(C2)
(C#2)
(D2)Low Conga Stick on wooden side(D#2)
(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)Low Conga Stick on wooden side(D4)
(D#4)
(E4)
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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 Timbal