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EASTWEST/QUANTUM LEAP
SYMPHONIC ORCHESTRA
and
SYMPHONIC ORCHESTRA
PRO EXPANSION
and
Kompakt Instrument
Operation Manual
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The information in this document is subject to change without notice and
does not represent a commitment on the part of Native Instruments Soft-
ware Synthesis GmbH or East West Sounds, Inc. The software and
sounds described in this document are subject to License Agreements
and may not be copied to other media. No part of this publication may be
copied, reproduced or otherwise transmitted or recorded, for any purpose,
without prior written permission by Native Instruments Software Synthe-
sis GmbH or East West Sounds, Inc. All product and company names are
or trademarks of their respective owners.
Operation Manual by Doug Rogers, Nick Phoenix, John Philpit, and Brian
Tester
East West Sounds, Inc., 2005. All rights reserved.
Native Instruments Software Synthesis GmbH, 2005. All rights re-
served. Kompakt is a trademark of Native Instruments Software Synthesis
GMBH.
East West Sounds, Inc.
9000 Sunset Blvd., Suite 1550
West Hollywood, CA 90069
USA
1-310-271-6969 voice
1-310-271-6968 fax
info@eastwestsounds.com
www.soundsonline.com
Native Instruments GmbH
Schlesische Str. 28
D-10997 Berlin
Germany
+49 30 6110 35 0 voice
+49 30 6110 35 35 fax
info@native-instruments.de
www.native-instruments.de
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Table of Contents
Welcome 7
Producer: Doug Rogers 8
Producer: Nick Phoenix 9
Recording Engineer: Prof. Keith O. Johnson 10
The Sample Libraries 11
Recording Notes 12
Instrument Sound 13
Recording Practice 13
Post-Production 14
Three-Dimensional Samples 14
One Dimensional Samples 14
Credits 16
Installation Instructions 17
Installation 17
Installing Professional XP 23
Testing The Setup 24
Hosting Kompakt and EWQLSO 25
Instruments and Multis 27
Multis in Platinum 27
Multis in Gold 28
Multis in Silver 28
Using Multis with a Sequencer 28
Joining the EastWest / Quantum Leap Community 28
Introduction 29
Making Music with Symphonic Orchestra 30
How to Use EWQLSO Instruments and Articulations 31
Terminology 31
Keyswitch Instruments 33
Modulation Wheel 34
Cross-Fades 35
Dynamic Cross-Fades 35
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Other Standard Cross-Fades 36
Custom Cross-Fades 36
Multis 37
Using Multis in Place of Keyswitches 39
Creating a Soundscape 40
Panning 40
Proximity Clues 42
Volume, Velocity, and Expression 43
MIDI Envelopes and Control Data 46
Release Trails 47
The Pitchwheel 48
Articulations 48
Legato 49
QLegato 49
Short Articulations 49
Fake Ensembles 51
Ordering of the Articulations 51
The Professional XP Articulations 51
Hardware Considerations 53
Direct From Disk 53
The Basics 54
Sizing Considerations in DFD 55
Bouncing MIDI Tracks with DFD 58
Virtual Memory 58
Comparing Platinum, Gold, and Silver 60
Upgrading: Silver to Gold and Gold to Platinum 62
Producers Notes 63
Articulation Files 66
Duration and Attachment 66
Vibrato 67
Stress and Dynamics 68
Ornamentation and Phrases 69
Technique 69
String-specific Articulations 70
Expression 71
Abbreviations 71
Platinum, Gold, and Silver Articulations 72
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Percussion Tables 105
Keyswitch Files 120
Professional XP Keyswitches 120
Original Keyswitches: Platinum and Gold 123
Original Silver: Keyswitches 137
Pro XP Keyswitches: Silver 145
The 3 Mic Positions 155
Reverb Control 158
Some Sound Advice 158
Various Ways to Combine the Samples 160
Using C and S Mics Sparingly 160
Blending All Three Mics 160
Go for the Intimateor the ExpansiveSound 160
Highlighting a Soloist Within the Orchestra 161
Creating a Soloist Up Front 161
Beyond the Panning Controls 161
Surround Sound Samples: Stereo Mixing 162
Surround Sound Samples: Surround Sound Mixing 162
Product Authorization 164
Conducting the Product Authorization 165
Registration support 170
Installation under Windows 171
System Requirements and Recommendations 171
Software Installation 172
DXi 2 Plug-in Setup 173
Installation under Mac OS X 174
System Requirements and Recommendations 174
Audio Interfaces 176
Stand-alone Application 176
Plug-In 177
KOMPAKT INSTRUMENT as Plug-in 180
VST 2.0 Plug-in 180
DXi 2 Plug-in 184
RTAS 185
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KOMPAKT INSTRUMENT Stand-alone Version 186
KOMPAKT INSTRUMENT Architecture 189
Kompakt Instrument Interface 190
The Multi Instrument Section 191
Options Menu 194
General Options 194
Group Edit 196
Group Amp 196
The Instrument Section 197
Sampler 197
Filter 197
Instrument Amp 199
The Modulation Section 200
Envelopes 200
Volume Envelope 200
Filter Envelope 201
Free Envelope 201
LFOs 202
The Effects Section 204
Reverb 204
Chorus 205
Delay 205
Master Filter 206
Index 208
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Welcome
The EASTWEST / QUANTUM LEAP SYMPHONIC ORCHESTRA
sample library is the result of years of planning, scoring, record-
ing, editing, and programming by over 100 creative professionals.
(For Professional XP, it was 3 years total, 2 of them in post-pro-
duction.) Our goal was to create a full orchestral sample library,
one that could be reproduced in surround sound, would blend
perfectly with EASTWEST / QUANTUM LEAP SYMPHONIC
CHOIRS, all recorded where orchestras and choirs sound most
natural, in a state of the art concert hall.
First, we had to find the right team to execute the plan. To cap-
ture the sounds, we needed someone with an impressive history of
recording choirs and orchestras live. The answer was Prof. Keith
O. Johnson. His 90-plus recordings have long been considered
the standard for high fidelity, and include two GRAMMY award-
winners and eight additional GRAMMY nominations. All of the re-
cording equipment used in the project was either hand-built or ex-
tensively modified by him to optimize fidelity.
Next, we had to find the right concert hall in which to record
EWQLSO and EWQLSC. Fortunately, his experience was invalu-
able here as well. He had recorded in most of the critically ac-
claimed concert halls throughout the world, and had a short list
of favorites. Its extremely difficult to book a popular concert hall
for weeks at a time, but we managed to do it during the resident
orchestras summer breaks. Needless to say, the orchestra missed
some summer breaks, because they were working on this project.
After the recording was completed, the post-production team was
put to work, which included some of the finest sound designers
and programmers in the business. Special software was developed
to edit the multiple tracks simultaneously, and keep them in
phase. Nearly a year of post-production was necessary to achieve
the final resulta result we are all extremely proud of.
We hope you enjoy EWQLSO and/or EWQLSO Pro XP as much as
we doand we would love to hear what you create with them.
Now its time to explore the endless creative possibilities of this
ground-breaking sample library!
Producers DOUG ROGERS and NICK PHOENIX
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Producer: Doug Rogers
Doug Rogers has over 27 years experience in the audio industry,
and is the recipient of many recording industry awards including
Recording Engineer of the Year. In 2005, The Art of Digital
Music named him one of 56 Visionary Artists & Insiders in the
book of the same name. In 1988, he founded EASTWEST, the
most critically acclaimed sound developer in the world, and recip-
ient of over 40 industry awards, more than any other sound devel-
oper. His uncompromising approach to quality, and his innovative
ideas have enabled his company to lead the soundware business
for 17 years. In the late eighties, he released the first commercial
drum sample CD, and followed it with the multiple-award-winning
Bob Clearmountain Drums. His last production Symphonic Or-
chestra, was awarded a Keyboard Magazine Key Buy Award, EQ
Magazine Exceptional Quality Award, Computer Music Maga-
zine Performance Award, and G.A.N.G. (Game Audio Network
Guild) Best Sound Library Award, plus endorsements from the
Whos Who of the music industry. He persuaded audio legend
Prof. Keith O. Johnson to record EWQLSO and EWQLSC, and
came up with the revolutionary idea of recording all instruments
and voices with 3 simultaneous stereo mic setups so users can
control the tone of the performances and the acoustics of the con-
cert hall, as well as create surround sound mixes.
Doug Rogers
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Producer: Nick Phoenix
Nick Phoenix is a Los Angeles-based composer. He founded
Quantum Leap Productions in 1997 to fulfill his needs as a work-
ing composer. Surprisingly, this is quite unique in the sound de-
sign business. He has produced all of Quantum Leaps AWARD-
WINNING sound libraries (QL Guitar & Bass, QL Brass, QL Rare
Instruments, QL Voices of the Apocalypse, QL 56 Stratocaster, QL
Hardcore Bass, QL Stormdrum, QL RA, and QL Colossus) with the
exception of EWQLSO and EWQLSC, which he produced with
Doug Rogers. His composing credits include television series for
Fox, NBC, CBS, Disney, and the History Channel. Nick recently
completed the first season of Nightmare on Elm Street Real
Nightmares for CBS. He is also responsible for music in over 600
film trailers. Some recent examples are: War of the Worlds, King-
dom of Heaven, Matrix Reloaded, Minority Report, Spider-Man 2,
Sahara, Lord of the Rings Return of the King, Harry Potter 3,
Hitchhikers Guide to the Galaxy, The Island, Miss Congeniality 2,
Bruce Almighty, Bewitched, The Ring 2, Fantastic Four, and
Madagascar. His composition skills, real world experience produc-
ing top sound tracks for film and television, technical ability, in-
novative programming ideas, and energy, proved to be an
invaluable contribution to the team.
Nick Phoenix
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Recording Engineer: Prof. Keith O. Johnson
Prof. Keith O. Johnson has spent over 30 years developing a rep-
utation for innovative thinking, technical achievement and musi-
cianship which has elevated him to a position in the audio
industry occupied by only a handful of visionaries. His intensive
investigation of electronic behavior and acoustic perception have
led most recently to his development (with digital engineer
Michael Pflaumer) of the revolutionary High Definition Compati-
ble Digital encoding process, produced and marketed by Pacific
Microsonics (recently acquired by Microsoft). HDCD is widely con-
sidered to be the most accurate recording process ever invented.
His 90-plus recordings have long been considered the standard
for high fidelity, and include two GRAMMY award-winners and
eight additional GRAMMY nominations.
SOME REVIEWS OF HIS RECORDINGS: How Johnson got that
huge climax at the end of the Dances cleanly onto tape tran-
scends engineering and goes into the realm of magic. -- Harry
Pearson, THE ABSOLUTE SOUND. Keith Johnsons engineering,
mastering and production have, in this case, produced the finest
orchestral recording I have ever heard... -- Russell Lichter,
SOUNDSTAGE
Prof. Keith O. Johnson
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The Sample Libraries
The EASTWEST/QUANTUM LEAP SYMPHONIC sample library is
available in three parts:
The original orchestral library. This package includes the
most commonly heard orchestral instruments and articula-
tions. This is the core of the EWQLSO sound.
The Pro Expansion (Pro XP) library. When added to the origi-
nal library, it approximately doubles the range of samples
available to the orchestrator: many new articulations and
quite a few new instruments.
The CHOIRS library. This set of choral and vocal soloist
samples uses the revolutionary WordBuilder tool to allow
the user to create realistic sung speech by typing in English
or phonetic text.
Note that the Pro XP library requires the original orchestral li-
brary; it cannot be used on its own. The CHOIRS library can be
used either on its own or with the EWQLSO libraryor libraries
to create choral music. Because they were all recorded in the
same space and with the same team of recording engineers, they
blend together beautifully.
This manual applies to both the original orchestral library and the
Pro XP library. Where included information refers to only one or
the other, it is clearly marked. The manual also applies to all three
editions of EWQLSO: Platinum, Gold, and Silver. The manual is
specific about applicability when it applies to only one or two of
the Editions.
The majority of this manual does not apply to the CHOIRS library.
And for the latest developments for this and all EWQL libraries,
visit the EAST WEST/QUANTUM LEAP web site at:
www.soundsonline.com.
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Recording Notes
EWQLSO is a sample library that can produce full multichannel
sound like that from a good recording session in a concert hall.
The user can manipulate multichannel files within each sample to
move an instrument, create full diffused or highly focused sound,
as well as off stage effects that have the same acoustic character
as having microphones on stage and mixing them.
Each instrument sample contains high-resolution components re-
corded in a good concert hall from microphone groups placed to
achieve close, full and ambient sound. Setups are modeled after
traditional DECCA setups having front omnidirectional micro-
phones for full string sound, a directional center tree to focus
woodwinds and brass and a number of stereo pair accents for solo
and close up work. Instruments are placed on stage, as they
would perform so that signals from these microphone groups can
be mixed and have the general technical feel and acoustic proper-
ties of a live session. Soloists can be brought forward, other in-
struments can be accented yet remain back or in the orchestra,
off stage effects can be produced all with correct acoustic per-
spective.
Much postproduction work and active DSP is mandatory to align
the multiple time-phase paths from each of the sample groups. In
addition, a large concert space was required to avoid claustropho-
bic wall sounds and to capture the instrument sound we hear at
an appropriate distance. These ultimately achieve overall mix
clarity.
To provide process headroom for this work, a super resolution re-
cording chain was used. FM microphone responses extended to at
least 26 kHz, all signal paths had minimal discrete circuit elec-
tronics, and conversions and files were at least 24-bit 88.2kHz
(we also recorded everything at 176.4kHz for future updates).
Hence, the Gigabytes of data needed to access the sounds of in-
struments from different angles, placements and distances. The
six channel high-resolution files containing close, full and rever-
berant feeds can produce a real 3D orchestral sense like that from
a good recording. To do this, simplified user commands or pre-
setable instrument placements replace outmoded pan and gain
controls functions. The new controls make complex adjustment of
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direct to reflected sound, time phase relationships and equaliza-
tions to track an instrument placement. In this manner, an instru-
ment can be accented within a group, brought forward as a
soloist, or moved off stage and the acoustic sound will correlate.
Instrument Sound
Sonic perspective, or close or distant sound experience has been
important during the evolution of musical instruments. Crafts
people develop their sound in the close environs of their shop or
studio but composers and listeners perceive and expect instru-
ments to work properly in an acoustic space. Both aspects must
be sampled and reproduced correctly because a listener can focus
or hone in on a direct sound from one instrument when placed
amongst others. Feedback mechanisms involved with human
hearing subordinate the other sounds so they are perceived as dif-
fused or as an ensemble. When we can see an instrument, this
sensitizing feedback, or cocktail party hearing acuity is quick
and effective. It works for a live concert experience but not for a
recording made from the best seat in the house. Without visual
connection, a microphone placed there will capture a diffuse
whole sound. On can have exact speaker placements in a sym-
metrical room and meditate on the experience to focus in but gen-
erally some form of spoon-feeding is required.
Recording Practice
A good recording setup often requires a close mike accent pickup
to jump-start this focused perception. Once used, the accent is
often removed, as only a few of these spots are effective at any
one time. Sometimes, a reverberation pickup is added or in-
creased to restore a correct sense of hall response to instrument
power. Generally a good recording setup for an orchestra has ac-
cent capability and will be much like early big sound Decca set-
ups: Omni or non-directional pickups at front, a center tree often
of directional microphones, several close placed accents, and a
hall sound microphone group. A lush string section sound is cre-
ated from omni pickups, center tight focus on woodwinds from
the tree and a big perspective from riding accent and reverb pick-
ups. Combinations of phase interferences, sonic bleeds to micro-
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phones, time arrivals and special energy convey a best seat
perceptual experience even though the microphones are much
closer to the musicians than is the listener in the hall. The sense
of instrument directionality and its effect on stage and hall sound
is evident.
Post-Production
The EWQLSO samples originate from this Decca type of setup and
the user can manipulate or mix file perspectives to work a com-
posing project with the same mix capability as would be used in
most soundstage and classical recordings. Microphone pickups
are selectable allowing one to mix and create a complex full
sounding performance. External equalization adjustments can
make soloists be very soft yet have pinpoint resolution in a lush
full ensemble. Off stage musicians can sound diffuse and merge
into 5 channel surrounds without creating distraction. Stereo Ac-
cents with time-phase control can extend near field images be-
yond the speakers, a useful effect for computers and gaming.
Three-Dimensional Samples
Three file groups operate in tandem for each instrument or sam-
ple. They provide a full sound stage pickup; close focused sound,
and a hall response. All three pickup signals are synchronized to
the instrument position for correct time - phase arrival as well as
pre-equalized so they will fit into a traditional large-scale mix. In
this manner, other preset synchronization and mix variations can
be made to create sound for up front solo, stage solo, ensemble
blend, chorus and for other placements. Such automatic options
are not only convenient but they perform very well and reduce pro-
cessing requirements to help allocate computer resources to cre-
ate the complex real sound of a good recording.
One Dimensional Samples
Note that a one dimensional sample, even with extensive elec-
tronic support, won't create the varying spatial energy relation-
ships that occur when musicians play different notes. The sounds
from behind a trumpet are different from those in front and their
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effect in a good space is quite audible and is much a part of the
whole listening experience. The real instrument sound has both
perceptions and they change when the instrument is moved.
Small room and anechoic samples reveal this effect as a serious
problem. Sound radiation from instruments is very complex and
its effect on direct as well as environmental sound perception is
important. Consequently, the EWQLSO sample library was made
in a big space, and has multiple sample paths.
PROF. KEITH O. JOHNSON
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Credits
Produced by
Doug Rogers and Nick Phoenix
Recorded by
Prof. Keith O. Johnson
Custom Recording Equipment Built and Designed by
Prof. Keith O. Johnson
Assistant Engineer
Rhys Moody
Concept by
Doug Rogers, Nick Phoenix, and Rhys Moody
Sample Editing
Arne Schulze, Nick Phoenix, Claudia Phoenix, Rhys Moody, Scott Plunkett,
Pierre Martin, Charles Fielding, John Hug Robert Phoenix, Scott Jennings,
James Rickabaugh, Pacemaker, Rob Williams, Michael Becker,
Jonathan Marmor, Nick Pavey, Jared Selter
Programming
Nick Phoenix, David Govett, Pacemaker, Tony Austin, and Ashif Hakik,
Pierre Martin, Nick Pavey, Jared Selter, Sean Beeson
Score and Articulations
Nick Phoenix
Surround Looping and Custom Editing Tools
Arne Schulze
Art Direction
Steven Gilmore and Doug Rogers (photo by Mike Itashiri)
Manual
Doug Rogers, Nick Phoenix, John Philpit, Brian Tester
Special Thanks
All of the Musicians (we salute you!), Daniel Haver, Florian Haver,
Egbert Juergens, Julian Ringel, Martin Jann, Wolfgang Schneider, Frank Elting,
all at East West, and all at Native Instruments
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Installation Instructions
This section provides the information you need to begin installing
the EASTWEST / QUANTUM LEAP SYMPHONIC ORCHESTRA
software and sound library. Note that because instruction for in-
stalling the three editions (Platinum, Gold and Silver) are some-
what different, it is sometime necessary to explain a step that
does not pertain to all editions.
The installation process can take a while, especially for the Plati-
num Edition, so its best to make sure you have enough time to
follow the instructions carefully.
Later in this manual you will find advice on how to start using your
new orchestration tools. Everyones setup is a little different, so
this manual can go only so far in assisting you in making the soft-
ware work with your other music-creation programs. Use your se-
quencers manual and help system; ask questions on the various
online forums; search this manual via the Index at the end; there
are lots of resources to help you climb the learning curve.
If you are buying both the original version and the Professional XP
version at the same time, you must install the original before in-
stalling the Professional expansion module. And it is advised that
you test out the original package and get it working before install-
ing Pro XP.
If you are now installing Pro XP after using the original version,
see specific recommendations on page 23. The process of install-
ing the expansion module is similar to what you went though the
first time, but there are a few points to take note of.
Installation
A complete installation comprises several steps:
1 planning where to install the various components
2 installing the software
3 copying the sample files from the DVDs to your hard drive(s)
4 upgrading the software to the latest version
5 upgrading the sound library to the latest version
6 authorizing the software
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These steps need to be done in order, and the instructions fol-
lowed carefully.
1. Planning. No matter which edition youre installing, planning
where to place the software and the sound libraries can save you
the hassle of having to move components later.
Silver Edition is designed to run on a small system, such as a lap-
top, so the various components can probably all run on the same
hard drive without causing problems.
Gold Edition works best when the Kompakt software is installed
on a separate hard drive from the sample library, but for smaller
projects that may not be necessary. Take a realistic assessment of
the complexity of the scores you intend to write: Are there usually
under a dozen instruments, or do you tend to write for large or-
chestral forces? Also consider how fast your computer and hard
drive are: If you have a 10,000 rpm drive and a very fast proces-
sor, then you may have more leeway in how large your projects can
grow before you need to separate the software and the sample li-
braries onto separate drives.
For mid- to large-size projects, Platinum Edition works best when
spread across multiple high-end computers. Power users might
have a network of 8 computers collaborating to create a single
large score. Even in much smaller projects, its best to run the
sample player software off a different drive than the one that
holds any EWQLSO samples. With four computers, you might con-
sider one orchestral section on each:
Strings
Woodwinds
Brass
Orchestral Percussion
So, in any case, the first decision is often what media you want to
copy files to. The files can be moved later if you need to, but its
always best to get it right the first time. Whatever your arrange-
ment, the goal is to keep the load on each processor within
bounds. How much each computer can handle is a function not
only of its speed, but also the amount of RAM and the access
speed of its hard drive.
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2. Installing. Once you know where everything is going to be in-
stalled, youre ready to start running the installation software.
If you acquired all four Platinum libraries, you have to repeat
some of the following steps four times.
Load the first DVD into a DVD drive on the computer where youre
going to load this library. Open this drive on the screen so you can
see the files and folders in it.
Read the ReadMe!.txt file for any recent changes to the instal-
lation procedures.
Run the file whose name ends in Setup.exe by double-clicking
on it. (The exact name varies with which edition youre installing.)
A Welcome Screen appears. Follow the directions that lead you
through the setup. You will need the serial number on the back of
the card sleeve that contain the DVDs. When asked which compo-
nents you want to install, unless youre an advanced user with a
reason not to install all three, leave the three components
checked. When asked for the locations in which to install the var-
ious components, enter the paths to folders on the hard drive you
chose in step (1) above.
At the end of this series of screens, several things will happen, in-
cluding:
The Kompakt program for the library will be installed
A directory (folder on your hard drive) will be created and
two subdirectories, instruments and multis, will be
added.
3. Copying the Sample Files. The previous step has added to your
hard drive the definitions of the Instruments (and, for Silver and
Platinum Editions, the Multis), but the files containing the actual
samples have not been copied. That process has to be done man-
ually, except in the Silver Edition which also installs the .nks
files.
For Gold and Platinum, there are two or more large files with ex-
tensions of .nks on the DVD already in your drive. (The exact
name depends on which edition is being installed.) Copy these
files to the same folder that contains the subfolders instru-
ments and multis.
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When those files have been
copied, continue by plac-
ing the next numbered DVD
in the drive and copying
any .nks files to the
same directory on the hard
drive. At the end, the di-
rectory should look some-
thing like this figure,
though the names and the
number of files will vary
with the edition being in-
stalled.
Those installing Platinum Edition have a choice. You can now per-
form steps (2) and (3) on any other libraries youve bought (Wood-
winds, Brass, Orchestral Percussion). Or you can wait until youve
finished a complete installation of the Strings library before in-
stalling the others.
4. Upgrading the Software. Changes may have been made to the
software and to the instruments and multis after the DVDs were
created. The next step is to update the software to the latest ver-
sion from the SoundsOnline web site. (If your DAWshort for Dig-
ital Audio Workstationis not directly connected to the Internet,
you can download the files on another computer and then copy
the files to your DAW.)
Direct your Internet browser to
www.soundsonline.com/techsupport.shtml
and click on the link for whichever edition (Platinum, Gold, or Sil-
ver) is being installed. Scroll down to find the OS-specific instruc-
tions for updating the Kompakt software. There are different
sections depending on whether youre running on a Microsoft Win-
dows PC or an Apple Macintosh.
Note that the details of this section can change when new ver-
sions are posted. Follow the directions on this web page carefully,
especially for Mac installations where OS-9 and OSX require dif-
ferent procedures.
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Some of the downloads are accomplished at the Native Instru-
ments web site. (NI is the author of the Kompakt sample player.)
Before you can download, you will need to register there as a li-
censed user of NI software. Use the registration application inside
the product folder which is in the East West folder. Click Register
Now and follow the directions. If your computer is not online then
use the save registration file and copy the saved file to the com-
puter you have online and register from this file. (It contains the
other computers System ID and the product serial number). If
you do not have any Internet access then you will have to mail or
fax the information requested in the registration application.
In all cases, there are two parts of the software that need to be up-
dated:
The Kompakt software has been improved. Click on the link;
it will direct you to a page at the native-instruments.de web
site.
Gold and Silver users have to do this step only once. For
Platinum users, this step needs to be done for each of the
four libraries because each runs a separate instance of the
software.
Find the appropriate section for the edition youre installing,
making sure you also select the correct operating system.
Download the file. If given a choice of opening or saving the
file, choose Save; select an appropriate temporary folder.
When the download is finished, go to that folder. If neces-
sary, extract the contents of the compressed file. Run the
downloaded program.
The DFD extensions also need to be updated. (This proce-
dure needs to be done only once, even if you have acquired
more than one library; follow directions on the web page.)
Click on the link to download the .zip file (Windows) or .sit
file (Mac). If given a choice of opening or saving the file,
choose Save; select an appropriate temporary folder.
When the download is finished, go to that folder and extract
the contents of the compressed file. Run the setup program
once it has been decompressed.
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Once again, Platinum users can choose to go back and complete
this step on all your libraries, or continue to the end with each li-
brary, one at a time.
5. Upgrading the Instruments. As of this writing, the original Plati-
num and Gold libraries are up to version 2.5, and the original Sil-
ver library is up to version 2.0. The changes do not affect the
large .nks sample files you copied manually from the DVDs. Only
the .nki files in the instrument folder and any .nkm files in the
multis folder are affected.
Go back to the page at SoundsOnline.com that lists all available
updates to the edition being installed. There you will see a section
for EWQLSO Sound Library Updates. Make sure you select the
correct edition. For Platinum users, each of the four libraries is
listed. Click on each library you own, downloading, in turn, its zip
file. These compressed files contain replacement folders for in-
struments and any multis.
Its prudent to save the folders originally created from the DVDs
before replacing them. Create a EWQLSO Backup directory
somewhere, then copy the folders for instruments (and multis
if you have them) to the backup folder you just created.
Then, in the folder where youre installing the sample libraries, re-
place the two folders (instruments and multis) with the corre-
sponding directories in the .zip file.
Note that in the backup folder Platinum Edi-
tion users should create 4 subdirectories
named for the 4 libraries (Strings, Woodwinds,
Brass, Percussion) and copy the existing two
subdirectories into the appropriate backup
folder, as in the diagram to the right.
6. Authorizing the software. You will be able to
play the libraries as soon as you finish all the
previous steps, but not for long. After 14 days,
you will no longer be able to open Kompakt unless you have au-
thorized your use by registering your licenses with Native Instru-
ments.
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When you have finished all installation steps, open the Kompakt
sample player and click on the EASTWEST logo in the upper right
corner. A dialog box opens and the text on the About tab dis-
plays, among other information, the versions of the various com-
ponents. As of this writing, the most recent versions are:
Software: 1.0.3.0010
DFD Extensions: 1.2.9
Library: 2.5 (Platinum and Gold) or 2.0 (Silver)
If you have followed all steps, you should see at least these ver-
sions numbers for Software and DFD Extensions. If you see the Li-
brary version as 1.0 thats probably OK; the updated version is
not always indicated here.
After all this work, youre eager to start using your new orchestrat-
ing tools. Go ahead and have fun. If anything seems not to be
working as expected, or youre not sure how to integrate EWQLSO
with other software you own, read Testing the Setup, the next
sections of this manual.
Installing Professional XP
The basic setup here is similar to the installation of the original
product, except as follows:
The new libraries create their own new folders, paths, and so
on. If theres sufficient space on the hard drive that holds
the original library with its monolithic .NKS files, then its
possible to add the new files to the same location. If theres
not enough space, then find a location with enough room for
both old and new samples, and, after installation, move the
old .NKS files to the same folder that contains the Pro XP
sample files.
If you decide to move the old sample files, then projects that
use the old sample paths will not find their samples even if
the new library path is set correctly in the Options dialog.
There is a workaround for this:
Use Find instead of Auto-find and show the correspond-
ing .NKS manually when the cant find sample popup
appears. Then confirm the selection.
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Testing The Setup
The best way to test that EWQLSO is correctly set up to play
sounds from the library is to open one of the Kompakt play-
ers as a stand-alone program (that is, not as a plug-in in a se-
quencer). Open one of the players by double-clicking its icon on
the desktop, or choosing it from the menu system. If the Kompakt
user interface (UI) opens, then the software is correctly installed.
Read later sections of this manual, starting on page 164, for de-
tailed information about all aspects of this UI.
The next step is to
configure the Au-
dio and MIDI con-
nections. Choose
Setup from the
menu system at
the top of the win-
dow. A dialog
opens that might
look something
like the what you
see on this page
(the exact appearance depends on your system). The chapters on
the Kompakt sample player provides more complete instructions
on how to configure the parameters in this dialog. You need to
know which interface you are running in other applicationsusu-
ally one of MME, ASIO, DirectSound (a.k.a. DirectX or DX), Multi-
Media or Core Audiowhat sound card you want to use and what
parameters have been set up.
In the Routing tab, assign the first two output channelsone left
and one rightto the sound card you will be using. If you have a
MIDI keyboard controller with which you can play notes, then on
the MIDI tab, select that keyboard and set it to on in the In-
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put section. If you dont have an attached MIDI keyboard, you
can still test EWQLSO by using the mouse to click on the on-
screen keyboard.
You should now be able to hear an instrument playing through
your sound cards speakers as follows. In the main Kompakt inter-
face, click on the first Instrument slot at the downward pointing
triangle at the right (top center of diagram). Select an instrument
from the menu (at the right). For now, do not choose an instru-
ment with DXF in the name. Also, tell Kompakt to listen for all
MIDI channels by selecting Omni if not already selected (lower
left of diagram); if a number appears there, click on the number
with the mouse and select Omni from the menu that pops up.
Try playing a note and you should hear the instrument. If not, go
back and double-check your setting.
If no sound is generated, there are also clues you can look for to
see where the chain from key-press to sound generation is broken.
If you're playing a note from a physical keyboard, check whether
the on-screen keyboard shows the key being depressed. (Make
sure your note is near Middle C, so that it's not off either end of
the keyboard.) If the note appears to be pressed when you press
the same note on the physical keyboard, then you know the MIDI
connection is correct. If not, go back and check that tab in the
Setup screen discussed above.
If the key presses, but the note displayed is out
of the loaded instrument's range, no sound will
be generated. The picture at the left shows a B
being pressed, but the range only goes up to G,
as indicated by the shading on the keys.
Hosting Kompakt and EWQLSO
After verifying with the stand-alone version of Kompakt that your
setup generates sounds, its time to try hosting the Kompakt plug-
in in your sequencer. If youre planning to run EWQLSO only as a
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stand-alone instrument, you can skip this section, but be aware
that most musicians who use this library to make recordings are
hosting it in one of the full-feature sequencers available for Macs
and PCs. It can be used with music notations programs, such as
Finale and Sibelius, or only as a real-time instrument, but those
setups are unusual.
The specifics of how to open an instance of the Kompakt sample
player in each of several sequencer programs is provided in some
detail later on in this manual. Specifically, Cubase, Nuendo,
Logic, Pro Tools, and Sonar are described starting on page 180.
Follow the directions there. Or if you use a different product, read
the manual of that product to see how to open a VSTi or DXi plug-
in.
If you have been able to play other VSTi or DXi plug-ins, then ev-
erything should be set to use the new one. If this is your first plug-
in, then you may need to set up the audio driver (ASIO, DirectX,
MME, SoundManager, Core Audio, or RTAS). Even after you get
EWQLSO producing sounds when hosted in your sequencer, you
may need to deal with issues of driver buffer sizes and latency set-
tings before youre ready to start creating orchestrations with
EWQLSO. Those topics are described later in this manual.
Note that if youre using Silver or Gold, there is only one Kompakt
player for all the instruments in EWQLSO. You can open as many
instances of this player as your hardware and settings allow, and
each instance can play any of the instruments in the Edition you
purchased.
In contrast, if you bought all 4 modules of the Platinum Edition
(Strings, Woodwinds, Brass, Orchestral Percussion), then there
are 4 separate Kompakt players, named with the section of the or-
chestra in the title, as in the figure below. Each player has access
only to the sounds from its section. That is, you cannot play a vio-
lin in the player titled Symphonic Orchestra Brass. You can still
open as many instances as your hardware and settings allow, but
the section-by-section rule always applies in the Platinum Edi-
tion.
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If using one of the Professional XP versions, you have access to all
instruments and articulationsboth original and newfrom the
Pro XP Kompakt. Theres no reason to open an old Kompakt.
Instruments and Multis
First, note that term Instrument is used in three ways in various
contexts:
The Kompakt player is referred to as an Instrument within
the host program. The term is only used that way in the sec-
tions (near the end) that describe the Kompakt sample
player and its UI.
The 8 slots in which one loads patches are referred to as
Instruments within a Multi-Instrument (Multi for short).
That usage is rare in this manual; its mostly limited to this
section youre reading right now. Elsewhere in the Guide,
they are referred to as slots. When used with this meaning
(in this section) an asterisk(*) is appended.
The principal use of Instrument in this Guide is to mean
either one of the solo instruments (Solo Clarinet) or a section
(3 Clarinets).
Multis in Platinum
The Platinum Edition files are loaded onto your hard drive with a
complete set of Multis, one for each articulation file. For example,
the original Alto Flute comes with 14 different articulation files,
and there are 14 Multis, as well. Each Multi contains exactly
three articulation files, the close (C), Stage (F), and Surround (S)
versions corresponding to the three mic positions. See page 155
for more about this topic.
If youre planning to use all three mic position extensively from
the start in your mixes, then these Multis are a shortcut to loading
all three at once. If youre planning to focus more on one of the
three mic positions, and maybe add in the other two version later
in the mixing process, then it might be best to sidestep these pre-
built Multis and create your own, as needed.
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Multis in Gold
Gold Edition has no predefined Multis. You can create your own in
Kompakt and save them so that they can be reloaded later by
name. You have complete control over which articulation files to
include in each Multi, up to the limit of 8 imposed by Kompakt.
Or you can ignore the concept of Multis and only load Instru-
ments.*
Multis in Silver
The Silver Edition has one Multi defined for each EWQLSO Instru-
ment. It contains allor at least most of the articulations. For
example, all the articulation files for 18 Violins are in a single
Multi.
Using Multis with a Sequencer
If youre creating instances of Kompakt as a DXi or VSTi in your
host program, the selection of instruments, plus all parameter set-
tings for Modulations, Effects, Filters, and so on, should all be
saved automatically in the hosts project, but saving the Multi on
its own to the hard disk can act as a backup; plus it lets you load
exactly the same collection of instruments and settings into an-
other project.
Joining the EastWest / Quantum Leap Community
Now that you own one or more of these productmaybe includ-
ing Symphonic Choirs or the many other EWQL titlesyoure go-
ing to have questions or want to hear what other users are saying
about how they use the products, and maybe even want to share
one of your audio files with others online to get their feedback
and advice.
The best place to do that is at the EastWest / Quantum Leap On-
line Forum. Use your Internet browser to visit our site:
www.soundsonline-forums.com
It will make this new journey easier and more fun. We look for-
ward to seeing you there.
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Introduction
This section explains how to use this manual, both as you learn
about SYMPHONIC ORCHESTRA and as a reference.
The samples in EWQLSO are grouped into sections of the orches-
tra (strings, woodwinds, brass, percussion), then specific instru-
ments, and finally articulations. As used in this document, an
articulation is the recorded sound of a specific instrument or or-
chestral group playing with a specific technique: for example, the
6 French Horns playing staccato.
Articulations are sometimes collected into a single file known as a
keyswitch. These files allow multiple articulations to be played
from a single track in a sequencer, or from a single keyboard in
live performances.
There are thousands of samples in the original SYMPHONIC OR-
CHESTRA and about as many more in the Professional XP mod-
ule. To help you find the samples you need, one entire section of
this manual lists the samples in tables that provide a quick refer-
ence, starting on page 66:
Tables for each instrument and instrument section: for
example, all the articulations available for the Bass Clarinet
in one table.
Tables for each type of percussion instrument, identifying
the sound mapped to each MIDI note.
Tables for each keyswitch: for example, all the articulations
in the keyswitch called 18V Keyswitch C0-A0 in one
table, and which note switches to each option in the file.
This manual also describes the various features of EWQLSO and
Pro XP, and gives advice on how to use them. Many of them are
unique to EWQL software, so even experienced, computer-savvy
orchestrators should take the time to learn how this package is
different.
Finally, the manual contains sections about how to use the Kom-
pakt sample player included with the samples.
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Making Music with Symphonic Orchestra
Just as the live orchestral instrument that were sampled to make
EWQLSO are usually divided into four families,
strings
woodwinds
brass
percussion
so too are the instruments in this package. Then the families are
further divided into instruments. For example, the strings include
violins, violas, cellos, double basses, and harps. EWQLSO makes
a further distinction between solo instruments and sections. And
in the case of violins, the sections are further broken down to 18
Violins and 11 Violins to represent the sounds of the First Violin
and Second Violin sections of a traditional orchestra. Therefore, in
EWQLSO the concept of instrument is slightly different from what
we think of in the world of tangible instruments, as explained be-
low.
When you load a sample into the Kompakt player that comes with
EWQLSO, you see a hierarchy of levels in the menus that open.
Heres what the 3 levels of menu look like in original Platinum.
For now, lets ignore the smallest menu in the middle. The exact
configuration of the menus depends on what edition and which
version youre running.
The menu on the left contains what EWQLSO calls instruments.
In this figure, there are the five traditional string sections of a full
orchestra at the top, plus three solo instruments (cello, harp, and
violin), and an extra instrument that reproduces the sound of a
very large string section. The menu at the far right (partially cut
off at the bottom in this picture) contains what are called articu-
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lations. These are samples that capture the many ways an instru-
mentalist can play the instrument. The intermediate menus are
folders within the file system.
How to Use EWQLSO Instruments and Articulations
There are many ways to produce a sound from most instruments
in a symphony orchestra. Not only does the player have the choice
of how loud or soft to play the notes, but also many other options:
how long to hold the note
how much of an accent to use at the beginning
whether to pluck a string or bow it
whether to use a mute on the instrument
how to position the mouth when blowing into an instrument
(the embouchure)
and many, many more.
These choices produce the separate articulations that instrumen-
talists use to add variety, to create emotion, and to carry out the
composers intensions as to the shape of the musical phrase. It is
the lack of this variety that makes much electronic music sound,
well, electronic.
One of the major strengths of the EASTWEST / QUANTUM LEAP
SYMPHONIC ORCHESTRA is the vast array of articulations at the
composers disposal. By learning to use this set of tools wisely,
you can add realism, energy, emotion, and character to the music
you write and orchestrate.
Terminology
In discussing how to use the wide variety of samples in EWQLSO,
we first need to define some terms. The Kompakt interface has
slots for what are called Instruments. And yet its articulations
and keyswitches that are loaded into those slots. And keyswitches
are themselves collections of articulations. This document will
use the following terms consistently for strings, woodwinds, and
brass. (Percussion instruments do not fall into exactly the same
paradigm.)
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The 4 definitions below are listed from the largest grouping to the
smallest.
Instrument: a solo instrument or orchestral section represented in
EWQLSO by multiple articulations. Examples include:
18 Violins
4 Tenor and Bass Trombones
Bassoon
Articulation File: what you load into an Instrument slot in the Kom-
pakt sample player. Examples include:
18V Exp
18V Keyswitch C0A0
EHN Sus Vib
These files have an extension of .nki in the file system. In Plat-
inum Edition, there also exist pre-defined Multis with an exten-
sion of .nkm that contain three articulation files corresponding
to the three mic positions discussed in a later section of this
Guide.
In Platinum, the name of an articulation file begins with the letter
C, F, or S to indicate whether the mic position is close, far, or
surround.
Articulation: what plays when a note sounds. Keyswitch files con-
tain three or more articulations. Those articulation files that do
not contain keyswitches contain only one articulation per file.
Each note plays only one articulation and cannot change articula-
tions mid-note. Articulations contain not only samples, but also
information about filters and other sound-shaping parameters.
Samples: the recorded data. An articulation contains a large col-
lection of samples. Each note in an articulations range plays one
or more samples. Some samples are triggered by the start of the
note; others are triggered by the end of the note (release trails).
More than one sample may play at the same time for a given note,
with the relative loudness of the samples controlled by the Mod
Wheel or other factors.
You can see how many samples are playing at
one time in the Multi display in Kompakt. The
screen shot to the right shows that 3 samples
are playing out of a maximum polyphony of
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32 that has been set for this articulation file. And this screen shot
was taken when only one note was being played, showing clearly
that what you hear is often a mix of samples.
Keyswitch Instruments
Sometimes one instrument needs to play different articulations
within a single phrase. For example, some of the notes might best
be played legato, and others staccato. While its possible to put
all the staccato notes in one MIDI track, all the legato notes in an-
other track, and then assign a staccato instrument to the first
track and a legato instrument to the second track, there are many
reasons thats awkward. Keyswitch instruments can often
though not alwayssimplify the work.
Assume a keyswitch file
that includes these notes
among the switches:
D0 assigned to le-
gato
G0 assigned to
staccato, up bow
G#0 assigned to
staccato, down
bow
Then you can set up your tracks to look like the above diagram.
This drawing is of a Piano Roll, a view available in most sequenc-
ers.
The short notes at the bottom are the keyswitches. They are below
the range of the instrument, so they do not make any sound. Note
that these notes are slightly before the note they are intended to
affect. The first note in the melody (an A) is preceded by the note
that means staccato, up bow, the very short G0 near the begin-
ning. Then, before the B-flat plays, theres a D near the bottom
that means play the next note(s) legato. Thats followed by sev-
eral notes that alternate between staccato, up bow and stac-
cato, down bow.
&
&
&
.
(
<
6
:
,
7
&
+
(
6
0
(
/
2
'
<
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The second D near the bottom causes not only the G above it to
play legato, but also the first 4 Ds in a row. A keyswitch remains
in effect until another keyswitch is set; in this case, the final G0
stops the legato, and causes the last D and G to play staccato,
up bow.
The exact position in time and the duration of the keyswitches are
not important. And their note-off events are ignored. Just make
sure the start of the keyswitch is before the first note it is sup-
posed to affect, but after the start of the last note of the previous
articulation (if any).
The designers of the keyswitches tried to make groupings that
would be most useful to the most composers, that is, collections
that reflect the most common articulations used in succession on
a single instrument. But compromises have to be made. Too many
keyswitches fill up the hard drive and make the on-screen menus
too long. A keyswitch with too many articulations loads too much
data into memory.
Try to work with these collections when you can, but sometimes
you have to break a musical line across two separate MIDI chan-
nels, and assign a different articulation to each track.
Modulation Wheel
This library uses the Mod Wheel to cross-fade between samples
and to adjust the volume of the accent on some sustain articula-
tions. All articulations that include Mod or XFade in the
name have Mod Wheel cross-fading. In the original versions, the
third keyswitch often has the Mod Wheel controlling the volume of
the accent. In addition, there is sometimes at least one more key-
switch that uses the Mod Wheel within each keyswitch file. A lot
of user control has been built into this feature, so use it exten-
sively to add expression to your work.
WARNING: Mod Wheel articulations require you to move the Mod
Wheel before they will work. This includes Mod Wheel articula-
tions located inside keyswitch articulation files.
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Cross-Fades
A cross-fade uses two or more different samples on the same
MIDI track and is a means to lower the volume of one sample
while simultaneously raising the volume on another sample. This
fading between the two sample creates a smooth transition from
the sound of one to that of the other.
There are three ways that cross-fades are used on EWQLSO:
a dynamic cross-fade (DXF) within a single articulation file
a cross-fade between different articulations within a single
articulation file
a custom cross-fade between 2 different articulations cre-
ated in the Kompakt player
They are quite different, so they will be discussed one at a time.
Dynamic Cross-Fades
When a single articulation file contains samples of an instrument
played at different dynamic levels (volumes) for every note in the
range, the file needs a means for the user to change dynamics
smoothly over time. Such a file contains the abbreviation DXF
in its name, for example, 3FL Sustain DXF. The standard way in
EWQLSO to fade from one volume to another is with the Mod
Wheel. On a MIDI keyboard or controller, this is one of two wheels
likely to be there. (The other is the Pitch Bend Wheel.) In addi-
tion, data for the Mod Wheel can also be entered directly into
most software sequencers.
The volume of the audio output from that one track can be con-
trolled by moving the Mod Wheel up and down. In most samples,
the volume of the audio output can also be changed using the ve-
locity assigned to each note, but the DXF control can shape the
volume even in the middle of a MIDI note, so it provides greater
dynamic control over the shape of the musical phrase.
Note for advanced users: There is a separate MIDI control code for
volume (#7) that is separate from the Mod Wheel control (#1).
EWQLSO uses the Mod Wheel because, in many setups, its more
accessible during real time playing than a volume controller. If
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you want to use the real MIDI information about volume to control
the volume instead, theres a setting in Kompakts General Op-
tions dialog that reverts volume control to MIDI control code #7.
See the section on the Kompakt interface for details, on page
194.
Other Standard Cross-Fades
There are other types of cross-fades in a single articulation file, as
well. As an example, one of the most common types is the cross
fade that affects the attack accent. It is most often the third key-
switch from the bottom (D0, or MIDI note #26). By pushing up on
the Mod Wheel, the accent at the very beginning of the note is in-
creased. This attack accent has been created by carefully pro-
gramming together staccato and sustain layers, plus the use of
ambient samples. The effect can be stunning; listen especially to
how it sounds in the 4 Trumpets instrument.
This facility allows the inclusion of accents on selected notes in a
musical phrase as well as the ability to grade each accent on a
continuous scale from none to barely audible to very strong. The
use of such variability to fit the musics phrasing is what adds ex-
pression and realism.
Other nuances that have preset cross-fades include:
increasing vibrato
increasing the sustain of a portato sample
increasing the slap of a double bass
Custom Cross-Fades
It is also possible to take any two articulation files and cross-fade
between them. The most obvious use is to take two similar articu-
lations from the same instrument (Expressive vibrato and Legato
vibrato for 18 Violins, for example), though any two files can be
used. You might find a reason to fade smoothly between Legato
Flute and Legato Oboe, using the Mod Wheel to make the phrase
sometimes more like a flute and sometime more like an oboe.
Anything is possible.
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To accomplish this trick, load the two articulation
files into the same instance of Kompakt, and set
them to the same MIDI channel. This figure shows
the channel set to 3 for the current instrument. You
can use any available channel from 1 to 8.
Next, with one of the instruments selected,
open the Pitchbend and Mod Wheel Options Di-
alog by clicking on the title PITCH MOD di-
rectly above the two wheels.
In the middle of the dialog box is a slider control. And below that
is a wide Mod Destination button. If the button is not already
set to Volume, click on it and choose Vol from the drop-down
menu. Then slide the thumb of the slider control to the left, down
to -100% in the box on the right.
Then select the other instrument in this
cross fade, and set its Mod Wheel control all
the way to the right, to 100%. Now you
have one instrument whose volume goes
from 0% up to 100% as the mod wheel is pushed up, and another
instrument on the same channel whose volume goes from 100%
down to 0% as the wheel is pushed up. That is, although the over-
all volume might remain about the same, the mix of the two sam-
ples changes gradually from all of one through half-and-half to all
of the other.
Multis
A multi is a collection of
up to 8 articulation files
that can be saved to your
hard drive and reloaded
at a later time. Think of a
multi as a named folder
of articulations. The fig-
ure at the right shows a
multi in Kompakt that contains seven articulation files. It was cre-
ated by adding articulation files to an empty multi and naming
the multi Flute and Oboe.
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When saving a multi, you are asked where within your computers
file system to save it. If you are planning to create more than a
few multis, you may want to create folders within folders to orga-
nize them. The subfolders will show up in the menus that appear
when you load a multi into Kompakt.
There are several ways to use the instruments within a multi. One
possibility is to use a different MIDI channel (1 to 8) for each ar-
ticulation. Each channel plays a different track from the se-
quencer. A second possibility is to assign the same channel
number to more than one instrument. This can create layered
sounds; for example, a single track in the sequencer can play a
flute, legato violin and pizzicato violin in unison. A third option
was described in the section on Cross Fades, where the Mod
Wheel can be used to fade in one articulation at the same time
that a different articulation is fading out.
Platinum installs a full set of predefined multis on the hard drive.
Each of these standard multis contains three files of the same ar-
ticulation, but at different mic positions. (See page 155 for more
about Platinums mic positions above.) For example, the multi for
BCL Legato contains these three articulation files for the Solo
Bass Clarinet:
C BCL Legato
F BCL Legato
S BCL Legato
If youre planning to use all three versions of an articulation si-
multaneously, then these predefined multis are a quick way to do
so. If youre planning to use only the F mic position for most in-
struments, for example, and maybe add in C and S selectively,
then its more efficient to define your own multis.
Finally, if you use the same collections of articulations over and
over for different projects, then a multi is a fast way to load those
collections. However, if you pick and choose articulations anew
for each project, then it may not be necessary to define and save
multis at all; the selected files are remembered in each instance
of the Kompakt VSTi or DXi when the host sequencer saves the
project. Of course, saving your choice of articulations as multis
may give you the peace of mind that the lists are stored twice:
once in the multis and again in the project file, just in case.
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Using Multis in Place of Keyswitches
Many sequencers have a feature that allows you to use a multi to
get some of the advantages of a keyswitch file without having to
add the keyswitch notes to your score. This technique is espe-
cially helpful to those orchestrators who plan to print scores and/
or instrumental parts and dont want the extra keyswitch notes to
appear on the staves. If your sequencer allows you to change the
MIDI channel of individual notes in a track, then you can use this
technique.
Start by setting up a multi with
the articulations you want to
use in a single track and load it
as a plug-in on that track. As
an example, lets take 4 articu-
lations from the Concert Flute. We assign each to a separate MIDI
channel. In the figure, we use channels 1 through 4, with channel
2 shown in the lower left. (Note that the remaining slots can be
used for other instruments on their own channels.)
The next step is accomplished in the se-
quencer. Once you have recorded your notes
in a track, unassign the channel of the
whole track. Then change the MIDI channel
on individual notes (or phrases) to other
channels so that those notes play the in-
tended articulation. Although the means to
do this varies among sequencers, the chan-
nel can often be set by changing a notes
properties in the Piano Roll view, as in the figure at the left. Here
the F# is being set to the staccato articulation by changing its
channel from 1 to 3.
One disadvantage of this method over using keyswitches is that
you usually have no visual clue in the Piano Roll view of what ar-
ticulation each note is playing; you have to inspect the properties
one at a time (unless the sequencer provides its own clues such
as color coding).
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Creating a Soundscape
Whether listening to an orchestra live on a stage or from a stereo
recording, were all used to hearing the sounds of the various in-
struments coming at us from different directions. In a traditional
symphonic layout, we expect the violins to be on our left, the cel-
los and basses on our right, and the flutes a little to the left of
center. There are two reasons we might want to continue this
practice. The first is to trick the listeners ear into perceiving a re-
cording of a live performance. Even when everyone understands
that the piece was created inside a computer, emulating a tradi-
tional sound can have its benefits. The second reason is that its
easier for the human ear to hear two similar sounds as separate
when it perceives them as arriving from different locations. If the
flute and the violin are doubled, or even playing an octave apart,
they will stand out from each other better when they seem to be in
separate locations in the soundscape that surrounds us.
Panning
EWQLSO is different from most other collections of orchestral
samples in that the panning of the various instruments to the tra-
ditional locations on a symphonic stage is built in to the stereo
samples. The double basses, for example, are already louder in
the right channel. Therefore, one can leave the panning level at
center for all instruments and they will be correctly placed on
the stage in the final mix. Of course, if you want to adjust the pan-
ning to achieve your own sound and/or a non-traditional place-
ment of instruments, that can be accomplished both in the
Kompakt interface and in the host sequencer.
Note that the natural panning within the EWQLSO samples has
one subtle feature that reverb plug-ins do not offer: correctly
timed reflections from all surfaces. To understand this concept,
consider a double bass player who is 5 meters from the wall to our
right and 45 meters from the wall to our left. We are seated half
way between the walls The reflection from the right wall, which
will be louder in our right ear, travels 30 meters (5 plus 25); the
reflection from the left wall, louder in our left ear, travels 70
meters (45 plus 25). That 40-meter difference means that the re-
flection arrives in our right ear approximately one-ninth of a sec-
Native Instruments Pro-Five
Native Instruments Pro-Five -- Index
Native Instruments Pro-Five
Native Instruments Pro-Five -- Index
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ond sooner than in our left ear, a significant difference. And the
bassoon and harp and tuba all have their characteristic left/right
delay based on where they sit on the stage. It is impossible for a
single reverb to achieve that level of realism.
Proximity Clues
Panning left or right is not the only way to separate instruments. It
is also possible to move them forward and backward. This can be
achieved in three ways:
Dynamics relative to timbre
Delay
Presence
When most musical instruments change from being played louder
to softer the timbre of the sound changes. Even if you let someone
else adjust the volume control on your stereo, you can still tell
whether the trumpet youre hearing was played loud or soft based
on the instruments tone; most instruments have a harsher sound
when played louder. So, in an orchestral mix, if a trumpet seems
to be played loud, but the volume level of that instrument com-
pared to others is softer, then the ear assumes the trumpet is far-
ther away. Adjusting independently the timbrewith velocity
parameters and/or cross fadingand the volume of the sound,
you can move individual instruments forward or backward.
Because sound travels at approximately 340 meters per second
(1100 feet per second), the ear uses very small time delays to
judge relative distance. If two violins play pizzicato notes simulta-
neously, and one is 15 meters (50 feet) further away, the note
from the more distant violin arrives 0.044 seconds later. Thats
about one twenty-third of a second, a short time but quite notice-
able to the ear. Its very easy in a sequencer to delay a track by a
specific timeeither with a Delay plug-in or by shifting the notes
in the Piano Roll viewand thereby achieve this effect.
As discussed in the section covering Platinums 3 mic positions,
the farther you are from an instrument in a concert hall the more
the natural reverberation of the hall contributes to what you no-
tice. (You still hear the echoes from the walls when youre close
by; you only notice them less because of how loud the instrument
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is. Its harder to hear the crinkle of a cough drop wrapper standing
near a roaring jet engine than in a hushed concert hall, even
though the wrapper makes the same sound.) This presence of
the sound is another distance clue. Mixing in more of the Close
(C) samples for an instrument makes it seem closer to the lis-
tener.
By combining all three principles (or the first two if you use Silver
or Gold), you can achieve quite convincing front/back positioning
in your orchestral mix. Giving the ear contradictory signals can
confuse it, achieving either a good or bad effect, depending on
your intentions.
And then, of course, theres surround sound, but that discussion
is out of scope in this section.
Volume, Velocity, and Expression
There are at least three ways to make a sampled instrument sound
louder, or at least make the real instrument seem to have been
played louder. The skilled MIDI orchestrator uses all three.
Volume is just the loudness of the generated sound. Changing vol-
ume is basically the same as turning the volume knob on your au-
dio system. A flute played softly can be cranked up; a blasting
trumpet can be turned way down.
Volume can be adjusted mid-note; that is, the listener can experi-
ence a crescendo or diminuendo for a held note. Even un-natural
sounds can be created, such as a crescendo for a single plucked
chord on a harp.
And as with a live orchestra, the various instruments are changing
their loudness independently, something you cannot do with the
stereos loudness knob.
Velocity, a term based on how fast a keyboard player hits the keys,
controls how forcefully the note is played. Adding force changes
not only the loudness of the notes, but usually also changes the
notes timbre. With a pianos action, the velocity cannot affect
what happens to the sound after the hammers hit and leave the
strings, and velocity works the same way here. In the current im-
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plementation of MIDI, velocity is usually designated by a number
between 0 and 127. And most software sequencers display veloc-
ity as vertical bars, something like the diagram seen here.
Most modern sam-
ple players, Kom-
pakt included, play
different samples
for different ranges
of velocity. For ex-
ample, the team
creating the sam-
ples record Middle
C on a solo violin
for pp, p, mp, mf, etc. The team then assigns the pp samples to,
say, velocities 025, the p samples to velocities 2645, and so
on. Because each dynamic level of a violin has its own timbre, a
notes velocity can affect not only its loudness but also its timbre.
Velocity changes are, therefore, a much better way than volume
changes to achieve natural-sounding dynamics. The disadvantage
of velocity is that it cannot be changed mid-note. Using the two
together gives the orchestrator more control over all aspects of dy-
namics.
In MIDI, velocity is an attribute of the Note-On message; it can
only be transmitted at the onset of a note. Volume, in contrast, is
a control code (CC7); it can be transmitted at any time. As dis-
cussed earlier, EWQLSO actually uses the Mod Wheel (CC1) to
control volume inside dynamic cross fades (DXFs). The various
layers within a DXF articulation vary not only in loudness, but also
in timbre; therefore, using the Mod Wheel results in natural-
sounding dynamics in which the instrument not only gets louder
but also has the sound of being played louder.
Expression is represented by another MIDI control code (CC11). In
EWQLSO, CC11 is used to control dynamics. It is possible to
shape the dynamics of a line either by playing a CC11 control-
ler in real time, or by drawing an envelope in a sequencer. Most
MIDI keyboards and control surfaces have programmable knobs
and/or sliders that can be set to send CC11 messages to a specific
MIDI channel. (Sliders are generally more sensitive for real-time
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control.) If your sequencer supports automation, it can record the
movements of the knob or slider and save them as part of the
project. Such manual control over the shape of an instrumental
line is usually more efficient than drawing in an envelope, and of-
ten achieves more convincing results.
EWQLSOs choice to use CC11 allows CC7 (volume) to be used in
other ways. For example, you can use the volume slider in your se-
quencer to adjust the overall volume level of each track in the
mix. The ability to do this is especially helpful in Platinum Edition
when using more than one mic position. If you want to experiment
with how much C, F, and S of a given instrument to include, use
CC7 to do that. Need to hear the solo flute staccato more crisply
throughout the piece? Raise the CC7 level for C SFL Stac and
lower it for F SFL Stac. CC11 is somewhat independent and can
still adjust dynamics to shape phrases within the tracks. Even if
you dont use Platinum, using CC7 to adjust overall levels has
many uses.
Although the volume and expres-
sion controls can be adjusted sepa-
rately, the volume setting does
change how expression affects per-
ceived volume. Think of CC7 as
setting an upper limit on the dy-
namics at any moment. Expres-
sion, like most continuously
changeable values in MIDI, takes
values between 0 and 127. CC7
specifies how loud a sound to generate for the maximum expres-
sion, 127. The diagram seen here shows that when volume de-
creases the fixed changes in expression represent smaller
changes in perceived loudness. Changing from an expression level
of 50 up to 100 represents a smaller change when the volume
control (CC7) is reduced.
With the Professional Expansion libraries, EWQLSO has made
changes to the programming of CC11 responsiveness. The new
engine gives a smoother response over the entire range from 0 to
127 for all programs, allowing for more realistic fades-to-zero.
CC7 curve
CC7 u
CC7 127
CC11 1uu
CC11 1uu
CC11 5u
CC11 5u
p
e
r
c
e
i
v
e
u

v
o
l
u
m
e

l
e
v
e
l
time
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MIDI Envelopes and Control Data
Most modern sequencers let you draw an envelope for the most
common MIDI control codes. The diagram with the light-colored
curve is an example of an envelope for CC11. Notice how the val-
ues are constantly changing, the same way a clarinet player mod-
ulates his or her breath to shape the musical line, or a cello player
adds musicality and interest to a phrase by changing the bows
pressure on the strings moment to moment. (The horizontal lines
near the top are the notes.)
When saved as MIDI data, this same envelope appears as a finite
set of commands. In a sequencer track, these often appear as ver-
tical lines, each line being a command to change the valuein
this case to change CC11.
The other wayand many say the better wayto send CC11
events to the sample player is with a MIDI controller, either a key-
board or a control surface. As long as you or your group has an ex-
tra handor foot, if you use a pedalyou can enter these control
codes while playing the notes into the sequencer. This allows you
to hear the interchange among the notes, their velocities (how
hard youre hitting the keys), and the expression being added with
CC11.
This process can also be done in two passesnotes first, then
control dataif your setup allows you to record automation data
to a track that already contains other MIDI data.
Everything written about CC11 in this section also applies to CC1
(Mod Wheel) and all other MIDI control codes. Learning to shape
musical lines the same way an instrumentalist does will give your
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work a more natural musicality. By combining velocity control, ex-
pression, Mod Wheel, and volume, you change digital samples
into real, living music.
Release Trails
This is an ambient sound library complete with release trails on
all samples (except in Silver Edition). The objective was to reduce
the need for artificial reverb, which can seriously degrade the re-
alism of the attacks and the body of the ambient samples. The in-
cluded release trails require a lot of computing power, but they
are absolutely worth it! Release trails are not always perfect, be-
cause there are many issues involved in programming that prevent
this. This is especially true with expressive, swelling, or unlooped
samples. One of the unique features of this library (and its in-
cluded software) is how the release trails are amplitude-matched.
The software analyzes the amplitude of the waveform when the
key is released, then activates the release trail, automatically ad-
justing the release trail dynamics so the two samples blend seam-
lessly. The result is very natural.
The release trails have been preset to a length that enables the li-
brary to work in all situations. The user can set the release trails
to play out all the way to the end with no fade at all, or very little
fade, if desired. This wasnt done because the authors felt that a
slightly shorter setting was more pleasing, especially for medium-
to faster-paced pieces of music. If you desire a longer ambience,
simply use the group editor in Kompakt. Make sure that the Edit
All button is not red (is Off). Select one of the release trail groups
and add 2 seconds to the decay time. Then go to the next release
trail group and do the same. Most programs only have 13 release
trail groups. Large keyswitch programs and some of the solo brass
have many more.
It is also possible to reduce the duration of the release trails. To
do so, make sure the instrument is loaded into Kompakt and se-
lected. Click on the Group Edit to open a popup menu with a list
of all the groups. Verify that Edit All is not red (is Off). Look for
the section called Group Amp on the right. Turn down the volume
control as far as you want; by setting it to zero you turn off the re-
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lease trails. If you do turn it all the way off, then also set the de-
cay in the Amp Envelope to its shortest setting (lowest number). A
short delay frees up computer resources sooner.
If you make changes to the release trails (or to any aspect of an
articulation file) and you plan on reusing those changes, then
click on Save in the Instrument section of the Kompakt UI and
store the file under a new name. You can then reload the modified
articulation at any time by name.
The Pitchwheel
The use of the pitchwheel can add subtle changes to musical
lines, thereby increasing the realism.
Professional XP includes a new pitchwheel engine that improves
the response of this tool. And when combined with the new QLe-
gato patches, as well as many other patches, the pitchwheel can
augment the sense of a natural legato, or add realistic, subtle
pitch variations. Experiment with how the pitchwheel can contrib-
ute to a more realistic orchestral sound.
Note that pitchwheel changes do not effect release trails; there-
fore, release trails will always sound realistic. Bending the pitch
of reverb is a decidedly unnatural sound.
Articulations
A library that contains all possible articulations for all orchestral
instruments is, at the moment, impractically large. At a glance,
you may wonder about the choice of included articulations. How-
ever, when you use the library, you will find these work really well.
The focus was on the most useful and expressive articulations,
steering away from sterility. The authors feel strongly that orches-
tral music should be dynamic, so they provided the articulations
you need to achieve that resultwithout the complexity of some
other collections, that in their view, consume far too much time to
get a satisfactory result. After all, for busy professional composers
who need to output a lot of music, time is money!
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Legato
String ensembles in the original (non-Pro XP) packages feature le-
gato articulations in the keyswitch programs. They are usually the
last one or two keyswitches. There are also other legato programs
with accents controllable with the mod-wheel. The 6 French
Horns, 4 Trumpets, and all of the woodwinds also have some form
of legato. In general, you will find that all of the samples in this li-
brary have a much more flowing, connected sound, than other or-
chestral sample libraries, but it still takes an attention to detail on
the part of the MIDI orchestrator to fashion the most realistic le-
gato phrases.
QLegato
EWQLSO Professional XP introduces a new technology from East-
West / Quantum Leap, known as QLegato. Most of the original le-
gato patches from the original packages have been replaced with
totally new samples and new programs that allow the user to cre-
ate more realistic legato passages in strings, woodwinds, and
brass.
Qlegato is sustained notes extracted from real performances that
enable the user to play smooth, connected lines at fast or slow
speeds. There is no tool or special technique. Simply play and en-
joy the sound. QLegato programs can be used in place of sustain
programs or alongside them.
Of course, as with any creative project, experience will teach you
how to enhance the expressiveness of these new samples, so feel
free to experiment using all the parameters and techniques dis-
cussed throughout this manual.
Short Articulations
The original EWQLSO contains several types of articulation files
that automatically vary the sound of short notes. This is done to
avoid whats called the shotgun effect, the sound of repeated
identical notes that can give a composition orchestrated on a
computer an unnatural, mechanical feel. The three primary tech-
niques for varying the sounds are as follows:
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A set of samples (in a single articulation) that represent, for
example, the violinists upbow and downbow in a staccato
passage. The program that plays such an up-down articu-
lation automatically alternates between the two samples, in
the same way a live performer would do.
Round-robin articulations that use a similar automatic alter-
nation between multiple samples. When a three-way alterna-
tion is used, the third sample may use a different technique,
for example, a marcato sample interspersed between upbow
and downbow samples.
Some percussion files include samples of a left-hand hit and
a right-hand hit on separate notes in the file. The orchestra-
tor can alternate between these two MIDI notes to achieve
the effect of the percussionist hitting the instrument alter-
nately with left and right hands.
In Professional XP, the attention to detail for short articulations
staccato, martel, etc.has been increased. There are many
more round-robin articulation files, with some including as many
as 6 different sounds. When you see RR x3 in the name of an
articulation file that means the program automatically rotates
through 3 different samples. RR 6 means youll hear 6 different
sounds if you play the same MIDI note 6 times in a row. Just an
RR means there are two samples that alternate.
Be aware that an RR x6 is actually altering the sound artificially
to create some of the unique sounds. Decide whether that slightly
unnatural sound works for the piece at hand. If you are doing lots
of quick, monophonic repetitions, then use the RR x6. If you
are playing sparse or very slow repetitionsor chordsuse the
simple 2-way RR. The program with the higher RR number
has always been created artificially and the program with the
lower RR number is always authentic. Usually plain RR is au-
thentic, but sometimes its a higher number.
Also in Pro XP, there are new programs for the 11 Violins, 10 Vio-
las, 6 French Horns, 2 Trumpets, and Solo Violin called Repeti-
tions. These are very short 7-way round-robins that have been
created from real performances. They also have an accented
eighth repetition assigned to high velocities.
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Fake Ensembles
The complete Platinum library includes several large string sec-
tion programs. See the complete listings of articulations starting
on page 66 for more details and to see how many of these ensem-
bles are available in each edition (Silver, Gold, and Platinum).
Ordering of the Articulations
The Kompakt user interface lists instruments and articulations in
the order it sees them in the file system; that is, whatever order
you would see in a folder in the operating system (Mac OS or Win-
dows) is the order in which they are presented. This manual uses
the same ordering, even though the instruments that start with
digits appear in a non-traditional order.
Also, this Guide follows the convention of the Platinum version,
keeping the four orchestral groupings separate: Strings, Wood-
winds, Brass, Percussion, in that order.
The Professional XP Articulations
When you add the Pro XP package to the original package, you
will see that all the articulationsold and neware listed in the
new Pro XP Kompakt player, in a single list. (In the case of Pro XP
Platinum Edition, there are four Kompakt players each with its
own set of articulations: strings, woodwinds, brass, and percus-
sion. But, as with Gold and Silver, the new Kompakts list both old
and new articulation files.)
Although you could continue to use the original Kompakt
player(s), be aware that the new programs (what Kompakt calls
Instruments) are improvements over the original versions. So,
sure, you can play the same Solo Bass Clarinet sustain samples in
both Kompakt players, but there are enhancements in the pro-
gram that are only available in what the Pro XP Kompakt plays.
In other words, even when Pro XP uses the original samples, there
are changes to the parameters of how the samples are played that
make it worthwhile using the newer Kompakt player. Also, many
programs from the original version include new Pro XP samples to
augment the original samples and provide more velocity layers
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and realism. Bottom line: EastWest / Quantum Leap discourages
owners of the Professional XP version from using the original ar-
ticulation files (.NKI files) unless theres a good reason to do so.
In particular, the following programs from the original library have
been updated in Pro XP, even though the names remain the same:
VCS Sus Vib
BCL Sus
BCL Exp
BSN Sus Vib
SOB Exp Vib
SOB Sus Vib
PFL Sus Vib
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Hardware Considerations
The downside of having so many samples is the need for lots of
computing power. This library is power-hungry, especially when
using the Platinum Edition. Consider this: Each Platinum sample
is actually three samples (C+F+S) and the library is 24-bit. Of
course, if you dont have enough computing power to run every-
thing simultaneously, you can always compose with one of the
stereo pairs (F, most likely), and render all three stereo pairs in
turn (F, then C, then S) prior to mixdown. The best advice is to get
the fastest computer (or multiple computers) you can afford, with
a fast, large, empty hard drive, and at least 1.5 Gigabytes of free
RAM (excluding the OS).
For the record, here are the approximate sizes of only the samples
in the six EWQLSO systems:
So, as you can see, they require a large hard drive.
A dream system at the time of writing would consist of two high
end computers for each module: a total of eight computers. The
Platinum samples are 24 bit/44.1KHz. Use 24-bit soundcards,
preferably with digital outs, connected to a 24-bit digital mixer.
Very soon, performance issues will disappear as computers get
faster.
Direct From Disk
Direct From Disk (or DFD) technology allows the data within
samples to be read directly from the hard drive, without all the
data being first loaded into memoryor at least most of it doesnt
have to be preloaded.
original original + Pro XP
Silver Edition 2.4 GB 5.4 GB
Gold Edition 15 GB 36 GB
Platinum Edition 65 GB 138 GB
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The Basics
A sample playerin this case Kompaktalways reads
sample data from buffers in memory. This buffer is neces-
sarily smaller than the length of the whole sample, or else
wed all need huge amounts of RAM. As long as theres al-
ways digital data in a buffer ready to be turned into sounds,
the sample player can reproduce the original sounds with
no delay.
There are actually two types of buffers: preload and voice.
There is always a short delay between the time the compu-
ter asks for data from the hard drive and the time the data
can be delivered to the computers central processing unit
(CPU). The average delay for any model of hard drive is
called the access time. In modern, high quality hard
drives, the access time ranges from 4 ms (0.004 second)
to 50 ms (0.050 second); the average is about 10 ms. This
is not a long time, but definitely noticeable. Plus if the se-
quencer asks for the samples of 10 notes at once (all on
the same down beat, for example), the delay could be 10
times as long before all the data is read into all the voice
buffers and ready to go.
Once the data starts to stream from the hard drive, it can
be delivered to a buffer much faster than the sample player
needs it; that is, unless the CPU needs to load many, many
samples at once. Drives with faster rotations can generally
deliver data faster, which is why hard drives with at least
7,200 rpm are recommended, and those with 10,000 rpm
are almost a necessity for highly polyphonic music.
The sample player has to be ready for any note in any
loaded articulation file at any time. If, for example, there
are 20 articulation files loaded, with an average of 2 oc-
taves (25 notes) per file, thats 400 notes with data ready
in memory to be used. Layering of samples means that
each note can play more than one sample at a time. There
could be over 1000 samples on the ready in preload buff-
ers in memory. And thats before we add the possibility of
release trails. Anyway, lots and lots of samples need to
have their own preload buffers.
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In order to be ready to play a sample, a short amount of the
sample data is written into its preload buffer when the ar-
ticulation file is first loaded. This buffer has to be long
enough that the sample player can start right away and
wont run out of data before the following data has been
loaded from the hard drive. That is, there needs to be a
seamless transition from the preloaded data to the data ar-
riving on demand from the hard drive.
As long as the CPU can keep up with playing the data al-
ready in buffers plus loading new data, continuous music is
generated. But when the sample player runs out of data in
one or more voice buffers, then gaps, pops, or other unde-
sirable sounds appear.
When an articulation file is loaded, the sample player
needs to know facts about the buffers its going to create:
how many, and how large. The number of preload buffers is
fixed for each articulation file. How many voice buffers per
articulation file is answered by the Polyphony setting that is
configurable in the user interface. The length of the buffers
is also configurable.
It should be clear that the total amount of RAM devoted to
buffers in memory can be very, very large. Thats one rea-
son sufficient RAM is so important in a DAW.
Sizing Considerations in DFD
There are four numbers used when configuring buffers:
Polyphony defines the maximum
number of samples that can play at
once from the given articulation file.
The default number is 32, but that can
be changed in the interface by double-
clicking on the number 32 and typing in a new value. If
voices are heard disappearing too soonespecially release
trailsthen the number has been set too low. But keep it
as low as possible, because unused buffers are a waste of
RAM. During playback, you can watch how many voices are
playing at any moment. Set the polyphony to be right at, or
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a little above, the maximum value observed for that articu-
lation file in that piece. And yet be aware that if you set the
polyphony barely large enough, then you may encounter
problems if you add more notes playing simultaneously, or
faster phrases in which more notes start before the release
trails for earlier notes are finished. As a general rule for
projects still being developed, set the polyphony a little
higher than the observed maximum, but not a lot higher.
The next three parameters are all configurable in Kompakts DFD
Menu dialog box. Select the Options dropdown and then DFD
(Direct From Disk) to see the dialog. All settings here are global;
that is, they apply to all samples. Changed values do not take ef-
fect until the next time buffers are allocated, which means its
best to close and reopen all instances of Kompakt after making
these changes.
Preload Buffer Size defines how many kilobytes of memory
to allocate for each samples preload buffer. Larger sizes
allow for slower responses from the hard drive, but also
consume more of the computers RAM. A size of 192 KB is
a reasonable starting point. Adjust it up or down to find the
right balance for your computers hardware and your usage
of samples.
Voice Buffer Size defines how many kilobytes of memory to
allocate for the buffers that store the data loaded from disk
on demand. Here a good starting point is 384 KB.
Reserved Voices defines how many voice buffers to create
in advance. This value has a range from 8 to 256. In gen-
eral, it should be set to higher values when working on
projects that will play a lot of samples simultaneously. It
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can be set lower, if desired, on a small project using only a
few instruments. Be aware, though, that a single instru-
ment playing a lot of notes very quickly, such as a piano or
harp, can eat up a lot of buffers.
A fourth number on this page, Memory Total, cannot be set on its
own. This value is computed for you by multiplying Voice Buffer
Size times Reserved Voices. It calculates the total memory re-
quirements from the two other, so you can see how much RAM
your settings will use.
Note that you must click on Apply to have the settings saved;
clicking on Exit closes the dialog without saving the changes.
There is a dropdown list (shown with the selection Expert in the
figure). Selecting Expert allows you to make your own choices for
the three values. But there are also four presets with pre-config-
ured settings.
If you find that one of these is a close fit to your needs, this drop-
down is a quick way to adjust the configuration from one project
to the next. You may, though, find that 64, and even 128, voices
is too small for large orchestrations.
Finally, note that DFD can be turned on and off from this same di-
alog box. The lighter blue button behind the words DFD Active
is a visual indication that DFD is currently enabled. Click on this
Pre-configured settings
Normal (Medium polyphony / Medium memory)
192KB 384KB 64 voices
High Performance (Medium polyphony / High memory)
384KB 750KB 64 voices
Large Instruments (Low polyphony / High memory)
96 KB 384KB 64 voices
Small Instruments (High polyphony / Medium memory)
192KB 384KB 128 voices
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button to toggle between Active and Inactive. When DFD is dis-
abled, all samples in all articulation files must be loaded into
RAM in their entirety.
Bouncing MIDI Tracks with DFD
The DFD technology can have consequences when bouncing MIDI
tracks to audio tracks in a sequencer. DFD settings that work fine
in real time may stumble and cause clicks or instrument dropouts
when tracks are bounced down faster than they are played.
Many modern sequencers can create audio tracks faster than the
same track normally plays at tempo. For example, with todays
high-speed computers a piece that takes 4 minutes to listen to
can often be rendered from its MIDI data and samples in less than
2 minutes. This is a nice feature because you dont have to wait to
hear your new audio tracks. The problem is that the sequencer
doesnt know that a plug-in is falling behind in loading its buffers;
the sequencer keeps moving ahead at double-speed and some
samples never get loaded in time to be played.
Sequencers with this Fast Bounce feature always have a way to
turn if off. If you hear clicks or dropouts when listening to tracks
bounced down this way, turn the feature off. Because the effects
of some dropouts may be subtle in some casesfor example, only
some release trails not playingyou should consider always turn-
ing off this feature for production work.
Virtual Memory
Because the whole point of setting up preload buffers is to avoid
the delay caused by loading data from the hard drive, using vir-
tual memory is counterproductive. This technology allows the
CPU to store more data in memory by letting it swap sections of
memory in and out of a holding area. For example, a computer
with 1 gigabyte (GB) of actual memory can pretend it has 2 GB by
moving sections of data (called pages) that it doesnt think it
will need right away into the holding area, and swapping it back in
when needed. The problem is that this holding area is on the hard
drive, in something called a page file or swap file. When edit-
ing a document, or downloading a file, a delay of 0.050 seconds
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is not really noticed. When playing samples, you can get gaps and
pops. If your operating system supports Virtual Memory, consider
turning it off. At this time, it cannot be turned off under OSX on a
Mac.
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Comparing Platinum, Gold, and Silver
Here are the six most significant ways that the three levels of
EWQLSO differ:
Platinum provides 24-bit samples; Gold and Silver provide
16-bit samples.
Platinum and Gold are chromatically sampled; Silvers
samples are stretched.
Platinum provides samples from 3 separate mic positions;
Gold and Silver only one.
Platinum and Gold provide release trails on the samples;
Silver does not.
Each level has its own set of articulations.
The larger the library, the more computing power it usually
takes.
Sampling depth is a measure of how precisely the digital data in a
sample describes the original sound picked up by the micro-
phones. With 16-bit precision, sounds waves are described using
numbers from 0 to approximately 65,000. With 24-bit, the num-
bers up to almost 16.8 million can be used. The extra precision
allows the subtleties of the orchestral sounds to be included in
more detail. The difference contributes to more lifelike capture of
all sounds, but is especially apparent in very soft sounds, includ-
ing the halls natural reverberation after the instrument has
stopped playing.
Even when music will eventually be mixed down to 16-bit preci-
sion so it can be written to a music CD (using a process known as
dithering), working with 24-bit samples, a 24-bit mixer, and a 24-
bit sound card can capture with more detail the way the sounds
interact, decay, and reverberate. To most people, the improve-
ment in going from all 16-bit to all 24-bit processing, though sub-
tle, is noticeable.
And for those planning to create 24-bit tracks for DVDs or other
media more advanced than CDs, working entirely in the 24-bit
realm is practically essential.
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Chromatic sampling means that every note in the instruments
range has its own samples. Silver, though, sometimes uses resam-
pling technology to play one sample for two or more nearby notes.
This resampling technology, the common practice in many other
sample libraries, can yield satisfactory results because the timbre
of two or three consecutive notes is not effected much by stretch-
ing or compressing the waveforms. Chromatic sampling is truer to
the original sounds because less processing is done to the wave-
forms; the only downside to chromatic sampling for users is that it
can increase the size of sample on the hard drive several times,
requiring more capable hardware.
Mic positions are discussed in detail in Chapter 3.
Users of Gold should note that the installed files include a few
close (C) and surround (S) files so you can try them out and see
how they help the sound of your orchestrations. Theres the hope
that once you get a taste of them, youll want to upgrade to Plati-
num.
Release trails, which play the sound of the hall after the note
stops, are not included in Silver.
The quantity and programming of articulation files varies with the
three editions. Not only does Platinum have many more files than
Gold, and Gold more than Silver, but the programming of the files
can be different, even when, for example, Gold and Platinum have
files with identical names. In other words, when you upgrade you
are not only getting more articulations, but the sound of many of
the files you already own will be improved, as well. This is usually
accomplished by programming in more samplesfor example,
more velocity layersin an articulation file.
The original Silver library includes three instruments not in the
original Gold and Platinum: a Steinway B grand piano, an organ,
and a basic choir (not Symphonic Choirs, which is an EastWest /
Quantum Leap product available separately). The Steinway piano
samples have been added to the Professional XP versions of Gold
and Platinum.
Computer hardware needs to match the power of the software. All
the many extra samples, the functionality, and the precision of
the larger libraries come with a price: a need for moreand more
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powerfulhardware. Where Silver can often run on a typical up-
to-date home computer, even a laptop, Gold benefits from a high-
end computer, or even a pair of computers to share the processing
load. Platinum works best with four or more high-end computers,
though small projects may get by with a more modest setup.
Upgrading: Silver to Gold and Gold to Platinum
The paths for upgrading have always been easy for users of
EWQLSO. Being members of the same family, the three editions
share a number of traits that makes moving up the family tree
easy:
the familiar structure of samples
the common user interface
the similar roles of instrument, multi, and keyswitch in
orchestrating
the reusability of much of the work with the smaller package
when the larger package arrives
With the arrival of the Professional XP version, one of those leaps
has become even easier. Because Gold Pro XP and Platinum Pro
XP have identical lists of articulations, it is now possible to take a
score orchestrated with Gold Pro XP, upgrade to Platinum Pro XP,
and no changes are required. You get 24-bit samples. You get ar-
ticulation files that reference more samples for smoother velocity
response curves. You get three mic positions. (OK, this last one
takes a little work to set up the templates for the close mic and
surround mic patches, but thats a lot more sound for very little
work.)
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Producers Notes
With the release of the Professional XP version, we want to make
a few comments about setting up and using Symphonic Orches-
tra.
An ideal way to work with the orchestra is to set up templates
once you have gotten to know the sounds and how the programs
work. You might, for instance, have a comedy template that has a
lot of staccato programs, effects, and percussion programs; or an
epic template that has a lot of QLegato DXF ensemble programs.
Obviously, the more computers you have, the bigger your tem-
plates can be. Nick Phoenix is in the process of setting up one
template that can handle anything! To do this, he is using 8 com-
puters. But no matter how many computers you have, some kind
of a template can make writing music easier.
One thing to keep in mind when setting up a template is that you
should always try to keep similar sounds in the same instance of
Kompakt or Kontakt. Lets say you use a lot of 6 French Horns
sounds and want to have the 6FH keyswitch program available, as
well as the QLeg Power DXF programDXFs give you more con-
trol over the sound than what is in the keyswitches. It is important
that these are loaded into the same instance of Kompakt/Kontakt
because they use the same samples. It is usually the case that the
DXF programs use the same samples as the similarly named pro-
gram without the DXF.
Also keyswitches tend to have most of the samples of the instru-
ment or ensemble in them. So it is very likely that the DXF pro-
gram and pretty much any basic sustain program will already be
contained within the keyswitch.
The keyswitches are standardized in Pro XP so, if using the newer
version, you will get the hang of it very quickly. Loading the DXF
into the same instance as the keyswitch means that you wont
waste RAM.
Once you have decided on what programs to go inside your tem-
plate and have made sure they will all fit into your available RAM,
you should load everything and save a multi for each instance of
Kompakt/Kontakt. If you have multiple instances of Kompakt/
Kontakt loaded inside a sequencing program or VST host, it is as
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simple as saving the sequence or VST host file. This will remem-
ber everything inside. If you are using multiple computers, make
sure you have created a track in your sequence for every program
on every computer.
One last thing to consider when deciding which computer will
load which sounds is performance. Make sure to spread the
sounds that you use most onto different computers so one com-
puter doesnt end up carrying all the load.
The next stage is crucial and highly subjective. EWQLSO responds
to two different volume controllers: CC7 (volume) and CC11 (ex-
pression). We highly recommend you record a CC7 message at the
beginning of every track. Spend some time to set the initial vol-
ume of every track at a level in natural balance with the rest of the
orchestra. This is tricky and will never be perfect, but the more
time you spend the less hair youll lose later. Start by playing the
timpani, horns, and big string ensemble really loud and, at the
same time, that will give you a reference of what the loudest pas-
sages will be like. Together, they should be at least 3 db below 0.
We recommend you not use MIDI volume for any other purpose
than this intial volume setting. Use CC11 to change volume and
breathe life into your compositions. This way, CC7 acts as a lim-
iter and keeps everything from getting out of whack.
Some specific comments:
Setting the volume of a DXF program is tricky because it
doesnt respond to velocity.
Give your sequence a few bars to process all the MIDI con-
trol messages before the music starts.
At this point, you should save the sequence before moving on.
Then go to your matrix editor (or whatever its called in your se-
quencer) to set up windows that display CC7, CC11, and CC1
(Mod Wheel) information. You will be editing these a lot, so its a
good idea to make these windows easy to access. You may also
want to do things like color-coding all brass, strings, winds and
percussion tracks. Save your sequence and youre ready to go.
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This last section pertains only to Platinum:
Nicks setup uses the full (F) mic samples to write with. Once he
perfects his setup, he creates an identical version using the close
(C) samples and then an identical version using the surround (S)
samples. He does it this way because he cant load a massive
template of programs if he uses the three different mic positions.
That would take up too much RAM and he would need more com-
puters. If you like to write hearing all three mic positions, you sim-
ply have to create smaller templates. Also, be aware that your
computer will have a much tougher time playing back all of the
samples in large compositions.
One advantage to having identical close, full, and surround tem-
plates, is that you can easily create surround mixes. Play back
your sequence through each template and bounce down three
mixes (close, full, and surround). You can archive the files and
create surround mixes later, or mix them together for a big sound.
The great thing is that if you have the close, full, and surround as
separate audio files, you can change the size of your mix at a later
date. Note, however, it is crucial that you reload your templates
before mixing down and creating these 3 files. This resets all the
round-robins and ensures that your close, full, and surround
mixes will play back the same samples in sync.
To clarify this point: Lets say you are using the full samples and
have finished your composition and are happy with the balance.
Reload your entire full mic template, including all samples on all
computers. Immediately record the full mix. Next load up your
close template. You may want to then adjust some balances and
CC11 data to create a perfect close mix. When you are happy, re-
load your entire close mic template, including all samples on all
computers. Immediately record the close mix. Repeat the process
for the surround mix.
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Articulation Files
The EWQLSO library includes a great number of articulations for
instruments in the string, brass, and woodwind sections. Some of
the differences among these sounds can be subtle. And some
terms may not be familiar to all users. Lets start by comparing
in words, at leastsome of the articulations. The descriptions
here are specific to how EWQLSO uses the terms.
Duration and Attachment
Marcato refers to notes that are a little longer than a staccato
and with a diminuendo.
Legato describes a note that not only continues to the start
of the next note, but also makes a smooth transition to it. In
the samples, these notes are cut out of phrases to achieve
the instrumentalists natural flow preparing to start the next
note. But be aware that achieving a realistic legato line is
not as easy a stringing together notes from a Legato patch;
the effective use of expression, velocity and selective attack
accent can sometimes be needed to make the Legato sam-
ples come alive. Professional XPs QLegato improves on the
original legato samples. See page 49 for more information
about this new EastWest / Quantum Leap technology.
Sustain refers to a note which is held for as long as needed,
but does not prepare for a following note. Many of these
samples are looped, meaning that the sound will continue
indefinitely until the Note-Off event. (Non-looped samples
decay and end at some fixed time if no Note-Off is reached
first.) You may want to make the last note of a Legato phrase
Sustain instead, whenever it sounds as if that note is headed
to a next note that never appears.
Slur, at least in this library, refers to a note that includes a
short half-step rise at the beginning of the sample. This
articulation only exists in string instruments that can move
continuously from one note to the next by sliding a finger
along the string, and in brass instruments where a bend
can be effected with a change in embouchure. This articula-
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tion, when placed in the middle of a phrase on a note that
the instrumentalist might reach using such a half-step slide
can add realism to the phrase. It can also be used to create
an upward chromatic scale that moves not in discreet
jumps, but quickly passes through the intervening sounds,
as well. Of course, you may find additional, novel uses for
this articulation.
Slide refers to a slide into a sustain. Note especially the Pro
XP slup vs and slud vs articulations that use the velocity
parameter to control which notes get a slide; in these files,
MIDI velocity does not affect volume. If playing these articu-
lations at a keyboard, you can make the notes slide by dig-
ging into the keys.
Portato notes are held as long as needed, but then leave a
small but noticeable gap between notes. The word literally
means carried in Italian.
Staccato refers to very short notes,
often with lots of space between the
sounds of the individual notes. It is
notated with a dot aboveor belowthe note. In some
cases in the string section, EWQLSO provides separate sam-
ples for staccato played with an up-bow and down-bow.
Because its usual for string players to alternate between up-
bow and down-bow in staccato passages, those articulations
with Up Down in the name automatically alternate
between the samples for you. (For string players, there are
other ways to achieve short notes. See those special articula-
tions later in this section.)
Vibrato
Sustained notes often come in two versions:
Vibrato refers to the slight wavering (literally, vibrating) in
the pitch of a note that produces a pleasing sound similar
to the natural fluctuation of the human voice around a cen-
tral pitch. For sustained notes that do not specify vibrato or
non-vibrato, you may assume the samples include vibrato.
_
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,
,

,
,
,

,
,
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In many articulations, the vibrato characteristically starts
after a slight delay, allowing the samples also to be used in
faster passages in which vibrato would not normally be ap-
plied.
Non-vibrato describes a note which holds tightly to its main
pitch without wavering. For long-held notes it can sound
cold, lacking in expression. But it is sometimes preferred
for certain styles of playing.
Stress and Dynamics
Sforzando describes a note that is played with extra force,
causing it to be not only louder but also more stressed than
other notes near it. This term usually applies to one noteor
just a few notesthat need to stand out from others near
them. It is tiring to the ears, and therefore uncommon, to
hear many Sforzando notes in a row.
Attack accent is not an articulation by itself, but is a compo-
nent of many articulations in EWQLSO. The amount of
accent is often controlled by the Mod Wheel, and less often
by the velocity of the Note-On event. This term refers to a
brief stress at the beginning of a note. It is similar to, but
not the same as, the following term.
Forte piano describes an articulation
whose notes start loud (forte) and
quickly drop to a softer level (piano)
for the sustained part.
Crescendo refers to a continuous rise in loudness. Articula-
tions with this label record the live instrument in a cre-
scendo on a single note, so the effect is somewhat smoother
and more natural than a cross fade between layers in a DXF.
Crescendo on release is an attribute of several articulations
in which the release trail, instead of capturing the natural
release and the reverb of the hall, actually supplies an after-
the-fact, brief crescendo (followed by its release and reverb).
Be careful not to hold the main note so long that it starts its
decay, or else the sudden resumption of the note at the start
_

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of the release trail will sound unnatural (unless thats what
you want, of course).
Diminuendo is the opposite of crescendo, a continuous
decrease in loudness.
Ornamentation and Phrases
Grace notes are single short notes that immedi-
ately precede the main note. In EWQLSO, all
provided grace notes rise a half step to the main
note and the accent is on the main note, not the grace note.
Glissando, in general usage, has multiple meanings. In this
library, it refers to two usages. One is a short upward run
that precedes the main note. It might, for example, be used
as a pickup to a melodic phrase. Because of its speed, using
such a built-in phrase sounds more natural than writing it
out as separate notes. The other usage is the standard
meaning in harp writing.
Rips describe the brass section version of a short upward run
preceding the main note.
Trill refers to the rapid alternation of two
notes, either a half step or whole step
apart.
Fall refers, in EWQLSO, to a fast, downward chromatic scale
starting at the given note and ending an octave below.
Technique
Flutter tongue refers to the rapid movement of the tongue
while blowing into the instruments mouthpiece. The tech-
nique is sometimes compared to the rolled R of some south-
ern European languages.
Double-tongue is a technique of articulating the tongue alter-
nately against the front and back of the mouth (as if saying
tiki-tiki) to produce a fast staccato sound, especially in brass
instruments.
_

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Shake describes a brief, coarse, trill-like sound characteris-
tic of the French Horn.
Sordino refers to a sound played with a mute in place. Each
instrument has a characteristic muted sound, sometime
considerably different from the same instrument unmuted.
String-specific Articulations
Bartok pizzicato is a style of playing in which the string is
pulled away from the fingerboard, allowing the string to snap
back forcefully.
Col legno refers to the sound of hitting the strings with the
wood of the bow.
Flautando is an articulation in which the bow barely brushes
the string; it is always non-vibrato, as well.
Harmonics are notes formed by lightly touching a fractional
node of the string while pulling the bow across it. The sound
is an ethereal, usually very high note; it is always played as a
sustain.
Martel is a term that describes a playing style in which the
bow pushes heavily on the string and the sound stops briefly
between notes, achieving a strong accent at the start of each
note. It is usual for the bow to reverse direction at the start
of each new note, hence the Up Down in the name of
most Martel articulation files. In some cases, Marcato is
heard at top velocities of other articulations.
Spiccato refers to a style of string playing in which the bow
bounces off the string with each note. In some cases, Spic-
cato is only heard at top velocities. Also look for examples of
3-way round-robins in which spiccato appears on every third
note to give variety to a run of staccato notes.
Pizzicato is the name given to the
sound of strings plucked with the
fingers instead of bowed. It cre-
ates a very short sound that can cut through even a dense
orchestration.
Sul ponticello refers to the sound of the bow playing very
near the instruments bridge.
_
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pizz.
,
,
,
,

arco
,:
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Tremolo describes a rapid repetition of the same note pro-
duced by alternating up and down strokes of the bow without
having the bow leave the string. This tremulous effect often
accompanies mysterious or scary scenes in movies.
Expression
Some of the terms used in EWQLSO articulations are more sub-
jective. Because they are already descriptive, they are listed here
without comment as to their meaning, for example:
Expressive
Emotion
Butter legato
Lyrical
Abbreviations
The names of the articulations, both in the Kompakt UI and in the
tables below, are written with abbreviations. Heres a list of the
most common ones to help in interpreting the names.
Abbreviations
1sec, 2sec, ... 1-second, 2-second, ... Mod Mod Wheel
Acc accented Non Vib non-vibrato
Bart Bartok pizzicato NV non-vibrato
Clstr cluster Orch orchestral
Crec, Cres crescendo Pizz pizzicato
Dbl-Tng or DT double-tongue Port portato
Dim diminuendo QLeg QLegato
Dn down RR round-robin
DXF dynamic cross-fade RR x3 3-way round-robin
Emotn emotion Sfz sforzando
Exp expressive Shrt short
Flaut flautando Sl slide
Fltr flutter tongue Slr slur
Fst fast Slud vs slide up-down vel sw*
FX effects Slw slow
Gliss glissando Sord sordino
Glock glockenspiel Spic spiccato
H or HT half-tone Stac staccato
HandMuf hand-muffled Str Sec string section
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* A slide up-down velocity switch uses MIDI velocity to control
slides and not volume. High velocities add an upward slide; the
highest velocities add a downward slide. Its used with 11 Violins,
18 Violins, 2 Trumpets, and 6 French Horns.
Platinum, Gold, and Silver Articulations
Although the most obvious difference is the number of articula-
tions in each editionPlatinum more than Gold and Gold more
than Silverthere is a more subtle difference, too. The samples
used and the programming of those samples may also be differ-
ent. A Platinum articulation file for 6 French Horns, for example,
may have more velocity layers, thereby providing a smoother tran-
sition over the range of MIDI velocity values from 0 to 127.
The Tables
The full list of articulations follows, with instruments listed in the
following order:
Strings
Woodwinds
Brass
Percussion
Within those four sections, instrument names are alphabetical as
they appear in the file system menus. (Some computer operating
systems may list the instruments in a different order than whats
given here.)
The leftmost column subdivides the articulation files:
Long sounds
Short sounds
Harm harmonics Sul Pont sul ponticello
KS keyswitch sus sustained
Leg legato Trem tremolo
LR separate left- & right-hand Vel velocity
Lyr lyrical Vib vibrato
Marc marcato W or WT whole tone
Mart martel x4, x6, etc. 4-way, 6-way, etc
Med medium X-Fade cross-fade
Mlt mallet Xfast extra fast
Abbreviations
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Effects
Mod Wheel and DXF files
Keyswitches
In the Professional XP versions, these subfolders actually appear
in the Kompakt menu when selecting an articulation file. In the
original versions, you will not see these subfolders, but here they
can help you find an articulation by its type of sound.
In the rightmost column, the letters indicate which editions of
EWQLSO include the given articulation:
P Original Platinum Edition
G Original Gold Edition
S Original Silver Edition
XPG XP Professional for Platinum and Gold Editions
XS XP Professional for Silver Edition
When one of the above symbols appears in gray, it means that the
articulation is not available in that edition.
10 Cellos
1 Long VCS Butter Leg Forte P G S XPG XS
VCS Butter Legato P G S XPG XS
VCS Exp Vib Fst P G S XPG XS
VCS Exp Vib P G S XPG XS
VCS Flowing P G S XPG XS
VCS Lyr Fast P G S XPG XS
VCS Lyr P G S XPG XS
VCS Non Vib P G S XPG XS
VCS Port Shrt P G S XPG XS
VCS Port P G S XPG XS
VCS QLeg Sord P G S XPG XS
VCS QLeg P G S XPG XS
VCS Run Simulator P G S XPG XS
VCS Sord leg dim P G S XPG XS
VCS Sus Vib Hard P G S XPG XS
VCS Sus Vib Soft Leg P G S XPG XS
VCS Sus Vib Soft P G S XPG XS
VCS Sus Vib P G S XPG XS
VCS Trem Leg P G S XPG XS
VCS Trem P G S XPG XS
Kompakt Instrument
English 74
2 Short VCS Bartok Pizz RR x3 P G S XPG XS
VCS Bartok Pizz P G S XPG XS
VCS Col Legno RR x3 P G S XPG XS
VCS Col Legno P G S XPG XS
VCS Marc Mod Col RR x6 P G S XPG XS
VCS Marc RR x6 P G S XPG XS
VCS Marc RR P G S XPG XS
VCS Mart Up Dn P G S XPG XS
VCS Pizz NEW P G S XPG XS
VCS Pizz RR x3 P G S XPG XS
VCS Pizz vs Bart RR x3 P G S XPG XS
VCS Pizz P G S XPG XS
VCS Quick Up DN x6 P G S XPG XS
VCS Quick Up DN P G S XPG XS
VCS Spiccato RR x6 P G S XPG XS
VCS Spiccato RR P G S XPG XS
3 Effects VCS Crec P G S XPG XS
VCS FX P G S XPG XS
VCS Sul Pont P G S XPG XS
VCS Trill H P G S XPG XS
VCS Trill W P G S XPG XS
VCS Evolving Pad P G S XPG XS
4 ModXfd VCS DXF Sus Acc Vel P G S XPG XS
VCS DXF Sus Vib Slow P G S XPG XS
VCS DXF Sus Vib P G S XPG XS
VCS Emotn DXF 1 P G S XPG XS
VCS Emotn DXF 2 P G S XPG XS
VCS Emotn DXF 3 P G S XPG XS
VCS Emotn DXF 4 P G S XPG XS
VCS Exp Vib DXF P G S XPG XS
VCS Fast Acc Mod P G S XPG XS
VCS Non Vib-Sus X-Fade P G S XPG XS
VCS QLeg DXF sl up P G S XPG XS
VCS QLeg DXF P G S XPG XS
VCS QLeg Sord DXF P G S XPG XS
VCS Soft Vib X-Fade Trem P G S XPG XS
VCS Sul Pont Trem DXF P G S XPG XS
VCS Sus Accent Mod P G S XPG XS
VCS DXF Sus Acc VL UD P G S XPG XS
VCS Emotn DXF Acc V 1 P G S XPG XS
VCS Exp Leg Acc Mod P G S XPG XS
VCS Exp Leg DXF Ac Vl P G S XPG XS
10 Cellos (continued)
Kompakt Instrument
English 75
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5 Keysw VCS KS Shrt RR C0-F#0 P G S XPG XS
VCS KS Sus C0-B0 P G S XPG XS
VCS Master KS C0-B0 P G S XPG XS
VCS Master KS P G S XPG XS
VCS Sus Vib DXF Leg Ped KS P G S XPG XS
VCS Keysw Sord C0-D0 P G S XPG XS
VCS Keysw Trl C0-F#0 P G S XPG XS
VCS Keyswitch C0-E0 P G S XPG XS
VCS Keyswitch C0-G0 P G S XPG XS
10 Violas
1 Long VAS Butter Leg P G S XPG XS
VAS Exp Fst P G S XPG XS
VAS Exp Slow P G S XPG XS
VAS QLeg Sord P G S XPG XS
VAS QLeg P G S XPG XS
VAS Sus 2 P G S XPG XS
VAS Sus Soft Leg P G S XPG XS
VAS Sus Soft P G S XPG XS
VAS Sus P G S XPG XS
VAS Leg P G S XPG XS
2 Short VAS Bartok Pizz RR x3 P G S XPG XS
VAS Bartok Pizz P G S XPG XS
VAS Col Legno RR x3 P G S XPG XS
VAS Col Legno P G S XPG XS
VAS Marc Long P G S XPG XS
VAS Marc Shrt P G S XPG XS
VAS Mart Up Dn Marc P G S XPG XS
VAS Mart Up Dn P G S XPG XS
VAS Pizz RR x3 P G S XPG XS
VAS Pizz vs Bart RR x3 P G S XPG XS
VAS Pizz P G S XPG XS
VAS Repetitions P G S XPG XS
VAS S Mart UD Marc S x6 P G S XPG XS
VAS S Mart Up Dn Marc S P G S XPG XS
VAS Shrt Mart Up Dn P G S XPG XS
VAS Stac MOD Col RR P G S XPG XS
VAS Stac RR x4 P G S XPG XS
VAS Stac RR x8 P G S XPG XS
3 Effects VAS SulPont P G S XPG XS
VAS Trem P G S XPG XS
VAS Trill HT P G S XPG XS
VAS Trill WT P G S XPG XS
10 Cellos (continued)
Kompakt Instrument
English 76
4 ModXfd VAS DXF Sus Acc Vel P G S XPG XS
VAS Emotn DXF 1 P G S XPG XS
VAS Emotn DXF Acc Vel P G S XPG XS
VAS Exp Fst DXF P G S XPG XS
VAS Exp Slow DXF P G S XPG XS
VAS Leg Exp Accent Mod P G S XPG XS
VAS QLeg DXF sl up P G S XPG XS
VAS QLeg DXF P G S XPG XS
VAS QLeg Sord DXF P G S XPG XS
VAS Sul Pont Trem DXF P G S XPG XS
VAS Sus Accent Mod P G S XPG XS
VAS Sus NV VB X-Fade P G S XPG XS
VAS Leg Exp DXF Ac Vl P G S XPG XS
5 Keysw VAS KS Shrt RR C0-F#0 P G S XPG XS
VAS KS Sus C0-B0 P G S XPG XS
VAS Master KS C0-G#0 P G S XPG XS
VAS Master KS P G S XPG XS
VAS Exp DXF Leg Pdl KS P G S XPG XS
VAS Keysw C0-F0 P G S XPG XS
11 Violins
1 Long 11V Butter Legato Forte P G S XPG XS
11V Butter Legato P G S XPG XS
11V Exp Dim P G S XPG XS
11V Exp P G S XPG XS
11V Grand Detache P G S XPG XS
11V Harmonics P G S XPG XS
11V Lyr A P G S XPG XS
11V Lyr B P G S XPG XS
11V QLeg Flaut P G S XPG XS
11V QLeg Sord P G S XPG XS
11V QLeg P G S XPG XS
11V Run Simulator P G S XPG XS
11V Sus Vib Hard P G S XPG XS
11V Sus Vib Soft Leg P G S XPG XS
11V Sus Vib Soft P G S XPG XS
11V Sus Vib P G S XPG XS
10 Violas (continued)
Kompakt Instrument
English 77
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2 Short 11V Col Legno RR x3 P G S XPG XS
11V Col Legno P G S XPG XS
11V Marc Short P G S XPG XS
11V Marc P G S XPG XS
11V Mart Up Dn Marc P G S XPG XS
11V Mart Up Dn Spic P G S XPG XS
11V Mart Up Dn P G S XPG XS
11V Med Shrt 3-Way RR P G S XPG XS
11V Quick Up Dn Marc x6 P G S XPG XS
11V Quick Up Dn Marc P G S XPG XS
11V Quick Up Dn Spic P G S XPG XS
11V Quick Up Dn P G S XPG XS
11V Repetitions P G S XPG XS
11V Short 3-Way RR P G S XPG XS
11V Shrt Spic 3-Way RR P G S XPG XS
11V Spic P G S XPG XS
11V Spiccato 2 RR x6 P G S XPG XS
11V Spiccato 2 RR P G S XPG XS
11V Stac Mod Col RR x2 P G S XPG XS
11V Stac RR x2 P G S XPG XS
3 Effects 11 Violins Scratching FX P G S XPG XS
11V 5th Slide DN Hrd P G S XPG XS
11V 5th Slide UP Hrd P G S XPG XS
11V Gl L P G S XPG XS
11V Gl S P G S XPG XS
11V Psycho Rip P G S XPG XS
11V Run Dn Psycho P G S XPG XS
11V Run Up Psycho 2 P G S XPG XS
11V Run Up Psycho RR P G S XPG XS
11V SFX Clusters P G S XPG XS
11V Slw Trll FX P G S XPG XS
11V Sul Pont P G S XPG XS
11V Tremolo F P G S XPG XS
11V Trill H P G S XPG XS
11V Trill W P G S XPG XS
11 Violins (continued)
Kompakt Instrument
English 78
4 ModXfd 11V Accent Sus Mod P G S XPG XS
11V DXF EXP Fast P G S XPG XS
11V DXF EXP Slow P G S XPG XS
11V DXF Sus Vib Acc Vel P G S XPG XS
11V Emotn DXF 1 P G S XPG XS
11V Emotn DXF 2 P G S XPG XS
11V Flaut Harm DXF P G S XPG XS
11V QLeg DXF slud vs P G S XPG XS
11V QLeg DXF P G S XPG XS
11V QLeg Sord DXF P G S XPG XS
11V Sul Pont Trem DXF P G S XPG XS
11V Sus NV Vib X-Fade P G S XPG XS
11V Sus Vib DXF Slow P G S XPG XS
11V Sus Vib DXF P G S XPG XS
11V DXF Exp Acc Vel P G S XPG XS
11V DXF Exp Leacc VL P G S XPG XS
11V DXF Sus Vib Ac Vl P G S XPG XS
11V Emotn DXF Acc Vl P G S XPG XS
5 Keysw 11V KS Shrt RR C0-F#0 P G S XPG XS
11V KS Sus C0-B0 P G S XPG XS
11V Master KS C0-C1 P G S XPG XS
11V Master KS P G S XPG XS
11V DXF Leg Pdl KS P G S XPG XS
11V Keysw Trl C0-E0 P G S XPG XS
11V Keyswitch C0-D0 P G S XPG XS
11V Keyswitch C0-F#0 P G S XPG XS
11 Violins (continued)
Kompakt Instrument
English 79
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18 Violins
1 Long 18V Butter Leg Forte P G S XPG XS
18V Butter Legato P G S XPG XS
18V Exp Fast P G S XPG XS
18V Exp P G S XPG XS
18V Lyr Fast P G S XPG XS
18V Lyr P G S XPG XS
18V Non Vib Fast P G S XPG XS
18V Non Vib-Exp Fst XF P G S XPG XS
18V Non Vib-Sus XF P G S XPG XS
18V Non Vib P G S XPG XS
18V QLeg P G S XPG XS
18V Sord Slow P G S XPG XS
18V Sord P G S XPG XS
18V Sus Vib Hard P G S XPG XS
18V Sus Vib Soft Leg P G S XPG XS
18V Sus Vib Soft P G S XPG XS
18V Sus Vib P G S XPG XS
18V Trem Leg P G S XPG XS
18V Leg Vib MF P G S XPG XS
18V Sus Vib Hrd Up Dn P G S XPG XS
18V Trem P G S XPG XS
2 Short 18V Bartok Pizz RR P G S XPG XS
18V Bartok Pizz P G S XPG XS
18V Marc Long P G S XPG XS
18V Marc Med Short P G S XPG XS
18V Marc Short P G S XPG XS
18V Mart UD Marc Shrt P G S XPG XS
18V Mart Up Dn Marc Med P G S XPG XS
18V Mart Up Dn P G S XPG XS
18V Pizz RR x3 P G S XPG XS
18V Pizz vs Bart RR x3 P G S XPG XS
18V Pizz P G S XPG XS
18V Quick UD Marc S x6 P G S XPG XS
18V Quick Up Dn Marc Short P G S XPG XS
18V Quick Up Dn Marc Up Dn P G S XPG XS
18V Quick Up Dn P G S XPG XS
18V Short 3-Way RR P G S XPG XS
18V Spiccato RR x4 P G S XPG XS
18V Spiccato RR P G S XPG XS
18V Short RR P G S XPG XS
Kompakt Instrument
English 80
3 Effects 18V Clstr & Air P G S XPG XS
18V Pendereki P G S XPG XS
18V Slr Fast P G S XPG XS
18V Slr Med P G S XPG XS
18V Slr Slow P G S XPG XS
18V Slr XFast P G S XPG XS
4 ModXfd 18V Accent Sus Mod P G S XPG XS
18V Emotn DXF 1 P G S XPG XS
18V Emotn DXF 2 P G S XPG XS
18V Emotn DXF Acc Vel 1 P G S XPG XS
18V Exp Fast DXF P G S XPG XS
18V Exp Leg Accent MOD P G S XPG XS
18V Exp LEG DXF ACC Vl P G S XPG XS
18V QLeg DXF slud vs P G S XPG XS
18V QLeg DXF slup vs P G S XPG XS
18V QLeg DXF P G S XPG XS
18V Sord Emotn DXF Vel P G S XPG XS
18V Sord Mod XFD Dyn P G S XPG XS
18V Sus Vib DXF Leg Vel P G S XPG XS
18V Sus Vib DXF Slow P G S XPG XS
18V Sus Vib DXF Slr Vel P G S XPG XS
18V Sus Vib DXF Slr2 Vel P G S XPG XS
18V Sus Vib DXF P G S XPG XS
18V Sus Vib X-Fade Trem P G S XPG XS
18V Emotn DXF Acc V 2 P G S XPG XS
5 Keysw 18V KS Shrt RR C0-F#0 P G S XPG XS
18V KS Sus C0-B0 P G S XPG XS
18V Master KS P G S XPG XS
18V Master KS C0-A#0 P G S XPG XS
18V Sord DXF Leg Pdl KS P G S XPG XS
18V Sus Vib DXF Leg Pdl KS P G S XPG XS
18V Keysw Eleg C0-C#0 P G S XPG XS
18V Keysw Fast C0-A#0 P G S XPG XS
18V Keysw Leg C0-C#0 P G S XPG XS
18V Keysw Sord C0-D0 P G S XPG XS
18V Keyswitch C0-A0 P G S XPG XS
18V Keyswitch C0-D#0 P G S XPG XS
3 Cellos
1 Long 3VC Sus Vib P G S XPG XS
4 ModXfd 3VC Sus Vib DXF P G S XPG XS
18 Violins (continued)
Kompakt Instrument
English 81
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4 Violins
1 Long 4VL Sus Vib P G S XPG XS
4 ModXfd 4VL Sus Vib DXF P G S XPG XS
9 Double Basses
1 Long CBS Big Sus P G S XPG XS
CBS Exp 2x Crec P G S XPG XS
CBS Exp Fast P G S XPG XS
CBS Exp P G S XPG XS
CBS Forte Piano P G S XPG XS
CBS Port P G S XPG XS
CBS Sforzando P G S XPG XS
CBS Sus Vib Hard P G S XPG XS
CBS Sus Vib Soft Leg P G S XPG XS
CBS Sus Vib Soft P G S XPG XS
CBS Sus Vib P G S XPG XS
CBS Trem Leg P G S XPG XS
CBS Trem P G S XPG XS
2 Short CBS Mart Up Dn P G S XPG XS
CBS Pizz Mod Slaps P G S XPG XS
CBS Pizz P G S XPG XS
CBS Quick UD Mod Slap P G S XPG XS
CBS Quick Up Dn x6 P G S XPG XS
CBS Quick Up Dn P G S XPG XS
CBS Slaps P G S XPG XS
3 Effects CBS Crec P G S XPG XS
CBS FX P G S XPG XS
4 ModXfd CBS DXF Sus Slow P G S XPG XS
CBS DXF Sus P G S XPG XS
CBS Emotn DXF 1 P G S XPG XS
CBS Emotn DXF 2 P G S XPG XS
CBS Emotn DXF Acc Vel P G S XPG XS
CBS EXP DXF Acc Vel P G S XPG XS
CBS EXP Fast DXF P G S XPG XS
CBS EXP LEG DXF Acc Vel P G S XPG XS
CBS Sus Accent Mod P G S XPG XS
CBS Sus Vib X-Fade Trem P G S XPG XS
CBS Sus Vib X-Fade P G S XPG XS
Kompakt Instrument
English 82
5 Keysw CBS KS Shrt RR C4-F#4 P G S XPG XS
CBS KS Sus C4-B4 P G S XPG XS
CBS Master KS C5-E5 P G S XPG XS
CBS Master KS P G S XPG XS
CBS Sus Vib DXF Leg Pdl KS P G S XPG XS
CBS Keyswitch C3-D#3 P G S XPG XS
CBS Keyswitch C3-F#3 P G S XPG XS
Harp
1 Long Harp Pluck Long P G S XPG XS
Harp Pluck Roll P G S XPG XS
Harp Pluck Short P G S XPG XS
Harp Pluck P G S XPG XS
3 Effects Harp Gliss 6 Up+Dn P G S XPG XS
Harp Gliss 9 Up+Dn P G S XPG XS
Harp Gliss Maj Up+Dn P G S XPG XS
Harp Gliss WT Up+Dn P G S XPG XS
Harp Harm P G S XPG XS
Harp Psycho Drone C P G S XPG XS
Harpsichord
1 Long Harpsichord P G S XPG XS
Large String Ensembles
50 Piece Str Sec Fst P G S XPG XS
50 Piece Str Sec Leg P G S XPG XS
50 Piece Str Sec Sus P G S XPG XS
60 Piece Str Sec Sus P G S XPG XS
60 Piece String Sec EXP P G S XPG XS
60 Piece String Sec PIZZ P G S XPG XS
70 Piece QLeg Slow P G S XPG XS
70 Piece QLeg Sord P G S XPG XS
70 Piece QLeg P G S XPG XS
70 Piece Str Marc RR P G S XPG XS
70 Piece Str Sec Pizz P G S XPG XS
70 Piece Str Sec Sus P G S XPG XS
70 Piece String Sec EXP P G S XPG XS
Chamber Ens Flautando P G S XPG XS
Chamber Ensemble P G S XPG XS
String Quartet QLeg RR P G S XPG XS
9 Double Basses (continued)
Kompakt Instrument
English 83
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String Quartet QLeg P G S XPG XS
Solo Cello
1 Long SVC Double Bow Exp P G S XPG XS
SVC Exp DN P G S XPG XS
SVC Exp Up P G S XPG XS
SVC Exp Vib P G S XPG XS
SVC Leg Vib P G S XPG XS
SVC Non Vib P G S XPG XS
SVC QLeg RR P G S XPG XS
SVC QLeg P G S XPG XS
SVC Sul Tasto Leg P G S XPG XS
SVC Sus Accent P G S XPG XS
SVC Sus Vib Hard P G S XPG XS
SVC Sus Vib Smooth P G S XPG XS
2 Short SVC Col Legno RR x3 P G S XPG XS
SVC Col Legno P G S XPG XS
SVC Marc P G S XPG XS
SVC Mart Up Dn Marc x6 P G S XPG XS
SVC Mart Up Dn Marc P G S XPG XS
SVC Mart Up Dn P G S XPG XS
SVC Pizz RR x3 P G S XPG XS
SVC Pizz P G S XPG XS
3 Effects SVC Slur P G S XPG XS
4 ModXfd SVC NV Vib DXF Acc P G S XPG XS
SVC Vib DXF Acc P G S XPG XS
5 Keysw SVC KS Shrt RR C0-F#0 P G S XPG XS
SVC KS Sus C0-B0 P G S XPG XS
SVC Master KS C0-B0 P G S XPG XS
SVC Master KS P G S XPG XS
SVC Leg Pdl KS P G S XPG XS
SVC Keyswitch C0-A0 P G S XPG XS
SVC Keyswitch C0-E0 P G S XPG XS
Solo Contrabass
1 Long SCB Exp P G S XPG XS
SCB Lyrical P G S XPG XS
SCB QLeg Exp P G S XPG XS
SCB QLeg RR P G S XPG XS
SCB QLeg P G S XPG XS
SCB Sus NV P G S XPG XS
SCB Sus Vib P G S XPG XS
Large String Ensembles (continued)
Kompakt Instrument
English 84
2 Short SCB Col Legno RR x3 P G S XPG XS
SCB Col Legno P G S XPG XS
SCB Marcato RR x3 P G S XPG XS
SCB Marcato P G S XPG XS
SCB Martele RR x6 P G S XPG XS
SCB Martele RR P G S XPG XS
SCB Pizz RR x3 P G S XPG XS
SCB Pizz P G S XPG XS
SCB Spic Marc RR x6 P G S XPG XS
SCB Spic RR x6 P G S XPG XS
SCB Spic RR P G S XPG XS
4 ModXfd SCB Sus Vib DXF P G S XPG XS
5 Keysw SCB KS Shrt RR C4-F#4 P G S XPG XS
SCB KS Sus C4-B4 P G S XPG XS
SCB Master KS C5-F#5 P G S XPG XS
SCB Sus DXF Leg Pdl KS P G S XPG XS
Solo Viola
1 Long SVA Exp 1 P G S XPG XS
SVA Exp 2 P G S XPG XS
SVA Exp 3 P G S XPG XS
SVA Exp Vib Sft P G S XPG XS
SVA Non Vib Hard P G S XPG XS
SVA Non Vib RR P G S XPG XS
SVA QLeg RR P G S XPG XS
SVA QLeg P G S XPG XS
SVA Sus Vib P G S XPG XS
2 Short SVA Col Legno RR x3 P G S XPG XS
SVA Col Legno P G S XPG XS
SVA Marc Hard RR x2 P G S XPG XS
SVA Marc Hard P G S XPG XS
SVA Mart RR x4 P G S XPG XS
SVA Mart RR x8 P G S XPG XS
SVA Pizz RR x3 P G S XPG XS
SVA Pizz P G S XPG XS
SVA Spic RR x2 P G S XPG XS
SVA Spic RR x4 P G S XPG XS
3 Effects SVA 8va Slide UP P G S XPG XS
SVA Trill HT P G S XPG XS
SVA Trill WT P G S XPG XS
4 ModXfd SVA nv vib DXF P G S XPG XS
Solo Contrabass (continued)
Kompakt Instrument
English 85
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5 Keysw SVA KS Shrt RR C0-F#0 P G S XPG XS
SVA KS Sus C0-B0 P G S XPG XS
SVA Master KS C0-G#0 P G S XPG XS
SVA Sus DXF Leg Pdl KS P G S XPG XS
Solo Violin
1 Long SVL Exp 1 P G S XPG XS
SVL Exp 2 P G S XPG XS
SVL EXP Crec P G S XPG XS
SVL Exp P P G S XPG XS
SVL Leg Vib P G S XPG XS
SVL Non Vib Hard P G S XPG XS
SVL Non Vib Soft P G S XPG XS
SVL QLeg Exp P P G S XPG XS
SVL QLeg RR P G S XPG XS
SVL QLeg P G S XPG XS
SVL Sus Vib Hard P G S XPG XS
SVL Sus Vib Soft P G S XPG XS
SVL Sus Vib Crec Rel P G S XPG XS
2 Short SVL Col Legno P G S XPG XS
SVL Marc Non Vib Hard P G S XPG XS
SVL Marc Vib P G S XPG XS
SVL Mart Up Dn x6 P G S XPG XS
SVL MarT up dn P G S XPG XS
SVL Pizz RR x3 P G S XPG XS
SVL Pizz P G S XPG XS
SVL Repetitions P G S XPG XS
SVL Stac RR x4 P G S XPG XS
SVL Stac RR P G S XPG XS
3 Effects SVL 5th Sl UP P G S XPG XS
SVL 8va Sl UP P G S XPG XS
SVL 8vb Sl DN P G S XPG XS
SVL Crec P G S XPG XS
SVL Slur P G S XPG XS
SVL Trill HT P G S XPG XS
SVL Trill WT P G S XPG XS
4 ModXfd SVL NV DXF P G S XPG XS
SVL NV Vib DXF P G S XPG XS
SVL QLeg DXF RR P G S XPG XS
SVL QLeg DXF P G S XPG XS
SVL Vib DXF P G S XPG XS
Solo Viola (continued)
Kompakt Instrument
English 86
5 Keysw SVL KS Shrt RR C0-F#0 P G S XPG XS
SVL KS Sus C0-B0 P G S XPG XS
SVL Master KS C0-G#0 P G S XPG XS
SVL Master KS P G S XPG XS
SVL Sus DFX Leg Pdl KS P G S XPG XS
SVL Keyswitch C0-A0 P G S XPG XS
SVL Keyswitch C0-D0 P G S XPG XS
3 Clarinets
1 Long 3CL Legato P G S XPG XS
3CL Sus P G S XPG XS
2 Short 3Cl Stac rr x3 P G S XPG XS
3CL Stac P G S XPG XS
4 ModXfd 3CL Sus DXF Acc Vel P G S XPG XS
3CL Sus DXF P G S XPG XS
3CL Sus X-Fade P G S XPG XS
5 Keysw 3CL KS Sus C0-B0 P G S XPG XS
3CL Master KS C0-E0 P G S XPG XS
3CL Master KS P G S XPG XS
3CL Sus Vib DXF Leg Pdl KS P G S XPG XS
3CL Keyswitch C0-F0 P G S XPG XS
3 Flutes
1 Long 3FL Exp Dim P G S XPG XS
3FL Legato P G S XPG XS
3FL Non Vib P G S XPG XS
3FL Sus FST P G S XPG XS
3FL Sus P G S XPG XS
2 Short 3FL Stac RR x3 P G S XPG XS
3FL Stac P G S XPG XS
3 Effects 3FL Gliss L P G S XPG XS
3FL Gliss S P G S XPG XS
3FL Grace P G S XPG XS
3FL Trill H P G S XPG XS
3FL Trill W P G S XPG XS
4 ModXfd 3FL Emotn DXF P G S XPG XS
3FL Non Vib-Sus X-Fade P G S XPG XS
3FL Sus DXF Acc Vel P G S XPG XS
3FL Sus DXF P G S XPG XS
Solo Violin (continued)
Kompakt Instrument
English 87
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5 Keysw 3FL KS Sus C0-B0 P G S XPG XS
3FL Master KS C0-G0 P G S XPG XS
3FL Master KS P G S XPG XS
3FL Sus DXF Leg Pdl KS P G S XPG XS
3FL Keysw C0-F0 P G S XPG XS
3FL Keysw Trl C0-G0 P G S XPG XS
3 Oboes
1 Long 3OB Exp P G S XPG XS
3OB Legato P G S XPG XS
3OB Non Vib P G S XPG XS
3OB Sus Vib P G S XPG XS
2 Short 3Ob Stac rr x3 P G S XPG XS
3OB Stac P G S XPG XS
3 Effects 3OB Grace P G S XPG XS
3OB Trill H P G S XPG XS
3OB Trill W P G S XPG XS
4 ModXfd 3OB DXF Sus Acc Vel P G S XPG XS
3OB DXF Sus P G S XPG XS
3OB Emotn DXF P G S XPG XS
3OB Non Vib-Sus X-Fade P G S XPG XS
5 Keysw 3OB KS Sus C0-B0 P G S XPG XS
3OB Master KS C0-E0 P G S XPG XS
3OB Master KS P G S XPG XS
3OB Sus DXF Leg Pdl KS P G S XPG XS
3OB Keysw Trl C0-F0 P G S XPG XS
3OB Keyswitch C0-D0 P G S XPG XS
3OB Keyswitch C0-F0 P G S XPG XS
Solo Alto Flute
1 Long AFL Exp Legato Bright P G S XPG XS
AFL Exp Legato Lyrical P G S XPG XS
AFL Exp Legato P G S XPG XS
AFL Exp P G S XPG XS
AFL Legato P G S XPG XS
AFL Non Vib P G S XPG XS
AFL Sus Vib P G S XPG XS
2 Short AFL Stac rr x3 P G S XPG XS
AFL Stac P G S XPG XS
3 Effects AFL Run Up Dn P G S XPG XS
3 Flutes (continued)
Kompakt Instrument
English 88
4 ModXfd AFL Exp DXF Acc P G S XPG XS
AFL Exp DXF P G S XPG XS
AFL Legato DXF Acc P G S XPG XS
AFL NV Vib XFade P G S XPG XS
5 Keysw AFL KS Sus C0-B0 P G S XPG XS
AFL Master KS C0-E0 P G S XPG XS
AFL Master KS P G S XPG XS
AFL Sus DXF Leg Pdl KS P G S XPG XS
AFL Keyswitch C0-E0 P G S XPG XS
Solo Bass Clarinet
1 Long BCL Exp Fast P G S XPG XS
BCL Exp P G S XPG XS
BCL Port P G S XPG XS
BCL QLeg RR P G S XPG XS
BCL QLeg P G S XPG XS
BCL Sus P G S XPG XS
BCL Legato P G S XPG XS
BCL Sus Hard P G S XPG XS
BCL Sus Medium P G S XPG XS
BCL Sus Soft P G S XPG XS
2 Short BCL Stac rr x3 P G S XPG XS
BCL Stac P G S XPG XS
3 Effects BCL Gl m P G S XPG XS
BCL Key Clicks MOD RT P G S XPG XS
4 ModXfd BCL QLeg DXF RR P G S XPG XS
BCL QLeg DXF P G S XPG XS
BCL Sus Acc MOD P G S XPG XS
BCL Sus DXF P G S XPG XS
5 Keysw BCL KS Sus C0-A0 P G S XPG XS
BCL Master KS C5-F#5 P G S XPG XS
BCL Master KS P G S XPG XS
BCL Sus DXF Leg Pdl KS P G S XPG XS
BCL Keyswitch C0-F#0 P G S XPG XS
Solo Alto Flute (continued)
Kompakt Instrument
English 89
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Solo Bassoon
1 Long BSN Exp Long Crec P G S XPG XS
BSN Exp Short P G S XPG XS
BSN Forte P G S XPG XS
BSN Non Vib P G S XPG XS
BSN Port P G S XPG XS
BSN QLeg RR P G S XPG XS
BSN QLeg P G S XPG XS
BSN Sus Vib P G S XPG XS
BSN Legato P G S XPG XS
2 Short BSN Stac RR x3 P G S XPG XS
BSN Stac P G S XPG XS
3 Effects BSN Gliss P G S XPG XS
BSN Trill HT P G S XPG XS
BSN Trill WT P G S XPG XS
4 ModXfd BSN Sus Accent Mod P G S XPG XS
BSN Sus Vib DXF P G S XPG XS
BSN Vib XFade P G S XPG XS
5 Keysw BSN KS Sus C0-A0 P G S XPG XS
BSN Master KS C0-E0 P G S XPG XS
BSN Master KS P G S XPG XS
BSN Sus Vib DXF Leg Pdl KS P G S XPG XS
BSN Keyswitch C0-D0 P G S XPG XS
BSN Keyswitch C0-G0 P G S XPG XS
Solo Clarinet
1 Long SCL EXP Fast P G S XPG XS
SCL Exp Slow Crec P G S XPG XS
SCL Non Vib P G S XPG XS
SCL Port P G S XPG XS
SCL QLeg RR P G S XPG XS
SCL QLeg P G S XPG XS
SCL Legato P G S XPG XS
2 Short SCL Stac RR x3 P G S XPG XS
SCL Stac P G S XPG XS
Kompakt Instrument
English 90
3 Effects SCL 8va Run Dn P G S XPG XS
SCL 8va Run Up Dn P G S XPG XS
SCL 8va Run Up Fast P G S XPG XS
SCL 8va Run Up P G S XPG XS
SCL Grace Notes P G S XPG XS
SCL Key Clicks MOD RT P G S XPG XS
SCL Trill HT P G S XPG XS
SCL Trill WT P G S XPG XS
4 ModXfd SCL QLeg DXF RR P G S XPG XS
SCL QLeg DXF P G S XPG XS
SCL Sus Accent Mod P G S XPG XS
5 Keysw SCL KS Sus C0-B0 P G S XPG XS
SCL Master KS C0-G0 P G S XPG XS
SCL Master KS P G S XPG XS
SCL Non Vib DXF Leg Pdl KS P G S XPG XS
SCL Keyswitch C0-D0 P G S XPG XS
SCL Keyswitch C0-F#0 P G S XPG XS
Solo Contrabasson
1 Long CTB Exp Short P G S XPG XS
CTB Exp P G S XPG XS
CTB Legato P G S XPG XS
CTB Port F P G S XPG XS
CTB Sus P G S XPG XS
2 Short CTB STAC RR x3 P G S XPG XS
CTB Stac P G S XPG XS
3 Effects CTB Gliss P G S XPG XS
CTB Grace P G S XPG XS
4 ModXfd CTB Sus Accent Mod P G S XPG XS
CTB Vib DXF Acc P G S XPG XS
CTB Vib DXF P G S XPG XS
CTB Sus DXF P G S XPG XS
5 Keysw CTB KS Sus C4-B4 P G S XPG XS
CTB Master KS C5-E5 P G S XPG XS
CTB Master KS P G S XPG XS
CTB Sus DXF Leg Pdl KS P G S XPG XS
CTB Keyswitch C3-D3 P G S XPG XS
CTB Keyswitch C3-F#3 P G S XPG XS
Solo Clarinet (continued)
Kompakt Instrument
English 91
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Solo English Horn
1 Long EHN Exp P G S XPG XS
EHN Legato P G S XPG XS
EHN New Legato P G S XPG XS
EHN Non Vib P G S XPG XS
EHN Sus Vib P G S XPG XS
2 Short EHN Stac RR x3 P G S XPG XS
EHN Stac P G S XPG XS
3 Effects EHN Fall P G S XPG XS
EHN Gliss P G S XPG XS
EHN Grace P G S XPG XS
EHN Slide P G S XPG XS
4 ModXfd EHN Legato DXF P G S XPG XS
EHN NV Vib DXF P G S XPG XS
EHN NV Vib XFAD P G S XPG XS
EHN Sus Accent Mod P G S XPG XS
EHN Vib DXF Acc P G S XPG XS
EHN Vib DXF P G S XPG XS
5 Keysw EHN KS Sus C0-B0 P G S XPG XS
EHN Master KS C0-E0 P G S XPG XS
EHN Master KS P G S XPG XS
EHN Sus DXF Leg Pdl KS P G S XPG XS
EHN Keyswitch C0-D0 P G S XPG XS
EHN Keyswitch C0-F#0 P G S XPG XS
Solo English Horn 2
1 Long EH2 Exp P G S XPG XS
EH2 Portato NV P G S XPG XS
EH2 QLeg RR P G S XPG XS
EH2 QLeg P G S XPG XS
EH2 Sus P G S XPG XS
2 Short EH2 Stac RR x3 P G S XPG XS
EH2 Stac P G S XPG XS
3 Effects EH2 Grace Note P G S XPG XS
EH2 Trill HT P G S XPG XS
EH2 Trill WT P G S XPG XS
4 ModXfd EH2 QLeg DXF RR P G S XPG XS
EH2 QLeg DXF P G S XPG XS
EH2 Sus Acc Mod P G S XPG XS
EH2 Sus DXF P G S XPG XS
Kompakt Instrument
English 92
5 Keysw EH2 KS Sus C0-B0 P G S XPG XS
EH2 Master KS C0-E0 P G S XPG XS
EH2 Sus DXF Leg Pdl KS P G S XPG XS
Solo Flute
1 Long SFL Exp Legato P G S XPG XS
SFL Lyrical P G S XPG XS
SFL Non Vib P G S XPG XS
SFL QLeg RR P G S XPG XS
SFL QLeg P G S XPG XS
SFL Slow Exp 2 P G S XPG XS
SFL Slow Exp P G S XPG XS
SFL Sus NV PPP P G S XPG XS
SFL Sus Vib Bright P G S XPG XS
SFL Sus Vib P G S XPG XS
SFL Legato P G S XPG XS
2 Short SFL Short Stac RR x2 P G S XPG XS
SFL Short Stac P G S XPG XS
SFL Stac RR x3 P G S XPG XS
SFL Stac P G S XPG XS
SFL Stac Fast P G S XPG XS
3 Effects SFL 8va Run Dn P G S XPG XS
SFL 8va Run Up Dn P G S XPG XS
SFL 8va Run Up P G S XPG XS
SFL Fall P G S XPG XS
SFL Flutter Mod P G S XPG XS
SFL Grace P G S XPG XS
SFL Psycho Run Dn RR P G S XPG XS
SFL Trill HT P G S XPG XS
SFL Trill WT P G S XPG XS
4 ModXfd SFL Accent Mod P G S XPG XS
SFL Lush Accent Mod P G S XPG XS
SFL QLeg DXF RR P G S XPG XS
SFL QLeg DXF P G S XPG XS
SFL Vib DXF 2 Acc P G S XPG XS
SFL Vib DXF 2 P G S XPG XS
SFL Vib DXF P G S XPG XS
5 Keysw SFL KS Sus C0-B0 P G S XPG XS
SFL Master KS C0-G#0 P G S XPG XS
SFL Master KS P G S XPG XS
SFL Sus Vib DXF Leg Pdl KS P G S XPG XS
SFL Keyswitch C0-D0 P G S XPG XS
SFL Keyswitch C0-F#0 P G S XPG XS
Solo English Horn 2 (continued)
Kompakt Instrument
English 93
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Solo Oboe
1 Long SOB Exp P P G S XPG XS
SOB Exp Vib P G S XPG XS
SOB Non Vib P G S XPG XS
SOB QLeg RR P G S XPG XS
SOB QLeg P G S XPG XS
SOB Sfz P G S XPG XS
SOB Sus Vib P G S XPG XS
SOB Legato P G S XPG XS
SOB New Leg Interval P G S XPG XS
SOB New Legato P G S XPG XS
2 Short SOB Stac RR x3 P G S XPG XS
SOB Stac P G S XPG XS
3 Effects SOB Fall P G S XPG XS
SOB Gliss P G S XPG XS
SOB Grace P G S XPG XS
SOB Key Clicks MOD RT P G S XPG XS
SOB Trill H P G S XPG XS
SOB Trill W P G S XPG XS
SOB Slide P G S XPG XS
4 ModXfd SOB NV Vib DXF P G S XPG XS
SOB QLeg DXF RR P G S XPG XS
SOB QLeg DXF P G S XPG XS
SOB Sus Acc Mod P G S XPG XS
SOB Exp DXF Acc P G S XPG XS
SOB Exp DXF P G S XPG XS
SOB NV Vib DXF 2 P G S XPG XS
SOB NV Vib XFade P G S XPG XS
5 Keysw SOB KS Sus C0-B0 P G S XPG XS
SOB Master KS C0-A0 P G S XPG XS
SOB Master KS P G S XPG XS
SOB Sus Vib DXF Leg Pdl KS P G S XPG XS
SOB Keysw Trl C0-F0 P G S XPG XS
SOB Keyswitch C0-D0 P G S XPG XS
SOB Keyswitch C0-G0 P G S XPG XS
Kompakt Instrument
English 94
Solo Piccolo Flute
1 Long PFL Exp P G S XPG XS
PFL QLeg RR P G S XPG XS
PFL QLeg P G S XPG XS
PFL Sus NV PPP P G S XPG XS
PFL Sus Vib P G S XPG XS
PFL Legato P G S XPG XS
2 Short Pfl Stac rr x3 P G S XPG XS
PFL Stac P G S XPG XS
3 Effects PFL 8va Dn P G S XPG XS
PFL 8va Up Dn P G S XPG XS
PFL 8va Up P G S XPG XS
PFL Gliss P G S XPG XS
PFL Psycho fall Fst P G S XPG XS
PFL Rips Up 3rd P G S XPG XS
PFL Rips Up 5th P G S XPG XS
PFL Rips WT P G S XPG XS
PFL Trill H P G S XPG XS
PFL Trill W P G S XPG XS
4 ModXfd PFL Sus Accent Mod P G S XPG XS
PFL Vib DXF Acc P G S XPG XS
PFL Vib DXF P G S XPG XS
5 Keysw PFL KS Sus C0-B0 P G S XPG XS
PFL KS FX C0-G0 P G S XPG XS
PFL Master KSC0-F#0 P G S XPG XS
PFL Master KS P G S XPG XS
PFL Sus Vib DXF Leg Pdl KS P G S XPG XS
PFL Keysw Trl C0-F0 P G S XPG XS
PFL Keyswitch C0-E0 P G S XPG XS
2 Trumpets
1 Long 2TP Mute Sus P G S XPG XS
2TP Portato P G S XPG XS
2TP QLeg RR P G S XPG XS
2TP QLeg P G S XPG XS
2TP Sus P G S XPG XS
2 Short 2TP Marc P G S XPG XS
2TP Mute Stac RR x6 P G S XPG XS
2TP Mute Stac RR P G S XPG XS
2TP Repetitions P G S XPG XS
2TP Stac RR x4 P G S XPG XS
2TP Stac RR x8 P G S XPG XS
Kompakt Instrument
English 95
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3 Effects 2TP 1sec Cres P G S XPG XS
2TP 2sec Cres P G S XPG XS
2TP 8va Sl Dn P G S XPG XS
2TP 8va Sl Up P G S XPG XS
2TP Arp FX P G S XPG XS
2TP Mute Cres Fltr P G S XPG XS
2TP Mute Fltr Cres Fst P G S XPG XS
2TP Mute Rip P G S XPG XS
2TP Trill HT P G S XPG XS
2TP Trill WT P G S XPG XS
4 ModXfd 2TP Mute Sus DXF P G S XPG XS
2TP QLeg DXF RR P G S XPG XS
2TP QLeg DXF P G S XPG XS
2TP QLeg DXF Slud P G S XPG XS
2TP Sus Acc MOD P G S XPG XS
2TP Sus DXF Acc Vel P G S XPG XS
2TP Sus DXF P G S XPG XS
5 Keysw 2TP KS Sus C0-B0 P G S XPG XS
2TP KS Crec C0-D#0 P G S XPG XS
2TP Master KS C0-E0 P G S XPG XS
2TP Sus DXF Leg Pdl KS P G S XPG XS
3 Wagner Tuben
1 Long 3WT Big Sus P G S XPG XS
3WT Sus Port P G S XPG XS
3 Effects 3WT Rip P G S XPG XS
4 ModXfd 3WT Sus X-Fade 2-way P G S XPG XS
4 Trombones
1 Long 4TB Forte Piano P G S XPG XS
4TB Mute Sus P G S XPG XS
4TB Portato P G S XPG XS
4TB QLeg RR P G S XPG XS
4TB QLeg P G S XPG XS
4TB Sus P G S XPG XS
4TB Forte-P Rel Crec P G S XPG XS
4TB Port Accent P G S XPG XS
2 Trumpets (continued)
Kompakt Instrument
English 96
2 Short 4TB Marc S Accent P G S XPG XS
4TB Marc Short P G S XPG XS
4TB Marc P G S XPG XS
4TB Mute Stac RR x6 P G S XPG XS
4TB Mute Stac RR P G S XPG XS
4TB Stac RR x3 P G S XPG XS
4TB Stac P G S XPG XS
4TB Stac Fast P G S XPG XS
3 Effects 4TB 1Sec Cres P G S XPG XS
4TB 2Sec Cres P G S XPG XS
4TB 3Sec Cres P G S XPG XS
4TB Bn Dn HT P G S XPG XS
4TB Clusters P G S XPG XS
4TB Flutter P G S XPG XS
4TB Mute Cres Fltr P G S XPG XS
4TB Mute Fltr Cres Fst P G S XPG XS
4 ModXfd 4TB Marc S Sus X-Fade P G S XPG XS
4TB Mute Sus DXF P G S XPG XS
4TB QLeg DXF RR P G S XPG XS
4TB QLeg DXF P G S XPG XS
4TB Sus ACC DXF P G S XPG XS
4TB Sus Accent Mod P G S XPG XS
4TB Sus DXF P G S XPG XS
4TB Port Sus X-Fade P G S XPG XS
4TB Sus X-Fade Accent P G S XPG XS
4TB Sus X-Fade P G S XPG XS
5 Keysw 4TB KS Sus C5-B5 P G S XPG XS
4TB KS Crec C5-D5 P G S XPG XS
4TB Master KS C5-E5 P G S XPG XS
4TB Master KS P G S XPG XS
4TB Sus DXF Leg Pdl KS P G S XPG XS
4TB Keyswitch A-1-B-1 P G S XPG XS
4TB Keyswitch A-1-D#0 P G S XPG XS
4 Trumpets
1 Long 4TP Forte Piano P G S XPG XS
4TP Sfz P G S XPG XS
4TP Sus P G S XPG XS
4TP FP Rel-Crec P G S XPG XS
2 Short 4TP Stac P G S XPG XS
3 Effects 4TP Crec P G S XPG XS
4TP Slr Fast P G S XPG XS
4TP Slr P G S XPG XS
4 Trombones (continued)
Kompakt Instrument
English 97
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4 ModXfd 4TP Sus ACC VEL DXF P G S XPG XS
4TP Sus Accent Mod P G S XPG XS
4TP Sus DXF Leg P G S XPG XS
4TP Sus DXF P G S XPG XS
4TP Sus X-Fade Accent P G S XPG XS
4TP Sus X-Fade P G S XPG XS
5 Keysw 4TP KS Sus C0-B0 P G S XPG XS
4TP Master KS C0-E0 P G S XPG XS
4TP Master KS P G S XPG XS
4TP Sus DXF Leg Pdl KS P G S XPG XS
4TP Keyswitch C0-A#0 P G S XPG XS
4TP Keyswitch C0-D#0 P G S XPG XS
6 French Horns
1 Long 6FH 3Sec Marc P G S XPG XS
6FH Mute Sus P G S XPG XS
6FH Portato P G S XPG XS
6FH QLeg RR P G S XPG XS
6FH QLeg P G S XPG XS
6FH Sfz P G S XPG XS
6FH Stop Fast P G S XPG XS
6FH Stop P G S XPG XS
6FH Sus 4 lay Smooth P G S XPG XS
6FH Sus 4 lay P G S XPG XS
6FH Sus 5 lay P G S XPG XS
6FH Sus Accent P G S XPG XS
6FH Sus Adventure P G S XPG XS
6FH Sus Bright P G S XPG XS
6FH Sus Forte Piano P G S XPG XS
6FH Sus Mellow P G S XPG XS
6FH Sus Fast 4 Lay P G S XPG XS
6FH Sus Fast 5 Lay P G S XPG XS
6FH Sus Fast Mellow P G S XPG XS
6FH Sus Fst 4 Ly Smth P G S XPG XS
6FH Sus Mellow Leg P G S XPG XS
2 Short 6FH 1sec Marc P G S XPG XS
6FH Repetitions P G S XPG XS
6FH Stac Long RR x3 P G S XPG XS
6FH Stac Long P G S XPG XS
6FH Stac Short RR x3 P G S XPG XS
6FH Stac Short P G S XPG XS
6FH Stac P G S XPG XS
4 Trumpets (continued)
Kompakt Instrument
English 98
3 Effects 6FH 1sec Cres P G S XPG XS
6FH 2sec Cres P G S XPG XS
6FH 3sec Cres Fltr P G S XPG XS
6FH Bend Dn HT P G S XPG XS
6FH Clstr Bend WT P G S XPG XS
6FH Clstr Gliss Up P G S XPG XS
6FH Clstr P G S XPG XS
6FH Flutter Cres Fst P G S XPG XS
6FH FX Hell P G S XPG XS
6FH Rips L P G S XPG XS
6FH Rips S P G S XPG XS
6FH Rips X P G S XPG XS
6FH Shake P G S XPG XS
6FH Trill HT P G S XPG XS
6FH Trill WT P G S XPG XS
6FH Slide P G S XPG XS
6FH Sus-Slide P G S XPG XS
4 ModXfd 6FH Emotn DXF Leg P G S XPG XS
6FH QLeg DXF RR P G S XPG XS
6FH QLeg DXF slud vs P G S XPG XS
6FH QLeg DXF P G S XPG XS
6FH QLeg Power DXF P G S XPG XS
6FH Sus ACC VEL DXF P G S XPG XS
6FH Sus DXF P G S XPG XS
6FH Sus Acc Vel DXF 2 P G S XPG XS
6FH Sus DXF 2 P G S XPG XS
6FH F-P X-Fade P G S XPG XS
6FH Sus Fast X-Fade P G S XPG XS
6FH Sus X-Fade Port P G S XPG XS
6FH Sus X-Fade Stac P G S XPG XS
6FH Sus X-Fade P G S XPG XS
6FH Sus XFD Dyn Leg P G S XPG XS
5 Keysw 6FH KS Sus C0-B0 P G S XPG XS
6FH KS Crec C0-D#0 P G S XPG XS
6FH Master KS C0-B0 P G S XPG XS
6FH Master KS P G S XPG XS
6FH Sus DXF Leg Pdl KS P G S XPG XS
6FH Sus DXF 2 Leg Pdl KS P G S XPG XS
6FH Keysw FX C0-D#0 P G S XPG XS
6FH Keysw Sus C0-D#0 P G S XPG XS
6FH Keyswitch C0-A0 P G S XPG XS
6FH Keyswitch C0-D#0 P G S XPG XS
6FH Keyswitch C0-E0 P G S XPG XS
6 French Horns (continued)
Kompakt Instrument
English 99
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Solo French Horn
1 Long SFH QLeg RR P G S XPG XS
SFH QLeg P G S XPG XS
SFH Sfz Crec P G S XPG XS
SFH Sus P G S XPG XS
SFH Port P G S XPG XS
2 Short SFH Marc P G S XPG XS
SFH Stac RR x6 P G S XPG XS
SFH Stac RR P G S XPG XS
SFH Stac P G S XPG XS
4 ModXfd SFH QLeg DXF RR P G S XPG XS
SFH QLeg DXF P G S XPG XS
SFH Sus Accent Mod P G S XPG XS
SFH Sus Accent P G S XPG XS
SFH Sus DXF Acc P G S XPG XS
SFH Sus DXF P G S XPG XS
5 Keysw SFH KS Sus C0-B0 P G S XPG XS
SFH Master KS C0-F0 P G S XPG XS
SFH Master KS P G S XPG XS
SFH Sus DXF Leg Pdl KS P G S XPG XS
SFH Keyswitch C0-D0 P G S XPG XS
SFH Keyswitch C0-E0 P G S XPG XS
Solo Piccolo Trumpet
1 Long PTP Sus RR P G S XPG XS
PTP Sus P G S XPG XS
2 Short PTP Marc P G S XPG XS
PTP Stac RR x6 P G S XPG XS
PTP Stac RR P G S XPG XS
3 Effects PTP Trill HT P G S XPG XS
PTP Trill WT P G S XPG XS
4 ModXfd PTP Sus acc DT Mod P G S XPG XS
PTP Sus DXF Acc Vel P G S XPG XS
PTP Sus DXF RR P G S XPG XS
PTP Sus DXF P G S XPG XS
5 Keysw PTP KS Sus C0-B0 P G S XPG XS
PTP Master KS C0-E0 P G S XPG XS
PTP Sus Vib DXF Leg Pdl KS P G S XPG XS
Kompakt Instrument
English 100
Solo Trombone
1 Long STB Mute Sus P G S XPG XS
STB Portato P G S XPG XS
STB QLeg RR P G S XPG XS
STB QLeg P G S XPG XS
STB Sus P G S XPG XS
2 Short STB Marc F P G S XPG XS
STB Stac RR x3 P G S XPG XS
STB Stac P G S XPG XS
STB Stac Fast P G S XPG XS
3 Effects STB Bass Sfz Crec P G S XPG XS
4 ModXfd STB Mute Sus DXF P G S XPG XS
STB QLeg DXF RR P G S XPG XS
STB QLeg DXF P G S XPG XS
STB Sus Accent Mod P G S XPG XS
STB Sus DXF Acc P G S XPG XS
STB Sus DXF P G S XPG XS
5 Keysw STB KS Sus C5-B5 P G S XPG XS
STB Master KS C5-G5 P G S XPG XS
STB Master KS P G S XPG XS
STB Sus DXF Leg Pdl KS P G S XPG XS
STB Keyswitch C0-D0 P G S XPG XS
Solo Trumpet 1
1 Long STP Exp PPFF P G S XPG XS
STP Exp P G S XPG XS
STP Port P G S XPG XS
STP Sus Vib P G S XPG XS
STP Sus P G S XPG XS
STP Port Rel Exp P G S XPG XS
2 Short STP Stac RR P G S XPG XS
STP Stac P G S XPG XS
STP Stac Dbl-Tng P G S XPG XS
3 Effects STP Sfx Crec P G S XPG XS
STP Slur P G S XPG XS
Kompakt Instrument
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4 ModXfd STP NV VB DXF ACC Mid P G S XPG XS
STP NV VB DXF ACC Sof P G S XPG XS
STP Sus Acc Mod P G S XPG XS
STP SUS DXF ACC P G S XPG XS
STP SUS DXF P G S XPG XS
STP Vib DXF ACC P G S XPG XS
STP Vib DXF P G S XPG XS
STP Sus Acc DT Mod P G S XPG XS
5 Keysw STP KS Sus C0-B0 P G S XPG XS
STP Master KS C0-E0 P G S XPG XS
STP Master KS P G S XPG XS
STP Sus DXF Leg Pdl KS P G S XPG XS
STP Sus Vib DXF Leg Pdl KS P G S XPG XS
STP Keyswitch C0-D0 P G S XPG XS
STP Keyswitch C0-G#0 P G S XPG XS
Solo Trumpet 2
1 Long ST2 Exp Vib P G S XPG XS
ST2 Marc Vib Long P G S XPG XS
ST2 Portato P G S XPG XS
ST2 QLeg NV RR P G S XPG XS
ST2 QLeg NV P G S XPG XS
ST2 QLeg Vib RR P G S XPG XS
ST2 QLeg Vib P G S XPG XS
ST2 Sus NV P G S XPG XS
2 Short ST2 Marc P G S XPG XS
ST2 Stac RR x10 P G S XPG XS
ST2 Stac RR x5 P G S XPG XS
3 Effects ST2 8va Sl Up P G S XPG XS
ST2 Cres 1 Sec P G S XPG XS
ST2 Cres 2 Sec P G S XPG XS
ST2 Cres 3 Sec Fltr P G S XPG XS
ST2 Falls P G S XPG XS
ST2 Flutter Cres Fst P G S XPG XS
ST2 Rips P G S XPG XS
4 ModXfd ST2 QLeg NV DXF RR P G S XPG XS
ST2 QLeg NV DXF P G S XPG XS
ST2 Sus Acc Mod P G S XPG XS
ST2 Sus DXF Acc Vel P G S XPG XS
ST2 Sus NV DXF P G S XPG XS
5 Keysw ST2 KS Sus C0-B0 P G S XPG XS
ST2 Master KS C0-E0 P G S XPG XS
ST2 Sus DXF Leg Pdl KS P G S XPG XS
Solo Trumpet 1 (continued)
Kompakt Instrument
English 102
Solo Tuba
1 Long STU Exp P G S XPG XS
STU Mute Sus P G S XPG XS
STU Sfz P G S XPG XS
STU Sus P G S XPG XS
2 Short STU Marc P G S XPG XS
STU Stac RR x3 P G S XPG XS
STU Stac P G S XPG XS
4 ModXfd STU Sus Accent Mod P G S XPG XS
STU Sus DXF Acc Vel P G S XPG XS
STU Sus DXF P G S XPG XS
5 Keysw STU KS Sus C4-B4 P G S XPG XS
STU Master KS C5-F5 P G S XPG XS
STU Master KS P G S XPG XS
STU Sus DXF Leg Pdl KS P G S XPG XS
STU Keyswitch C4-D#4 P G S XPG XS
STU Keyswitch C4-D4 P G S XPG XS
Cymbals & Gongs
12 Band Cymbal P G S XPG XS
12 Cymbal P G S XPG XS
16 German Cymbal P G S XPG XS
18 Cymbal P G S XPG XS
18 German Cymbal P G S XPG XS
18 Viennese Cymbal P G S XPG XS
18 Zildjan Roll DXF MOD P G S XPG XS
19 French Cymbal P G S XPG XS
20 Cymbal P G S XPG XS
20 French Cymbal P G S XPG XS
21 French Cymbal P G S XPG XS
22 Cymbal P G S XPG XS
23 Gong P G S XPG XS
26 Zildjan Crash P G S XPG XS
26 Zildjan Roll DXF MOD P G S XPG XS
28 Gong P G S XPG XS
37 Chinese Tam Tam P G S XPG XS
48 Gong P G S XPG XS
60 Gong 2 P G S XPG XS
60 Gong P G S XPG XS
All Cymbals P G S XPG XS
All Gongs P G S XPG XS
Kompakt Instrument
English 103
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Drums
3 Snares DXF Rolls P G S XPG XS
3 Snares P G S XPG XS
5 Concert Toms P G S XPG XS
Bass Drum Concert P G S XPG XS
Bass Drum Wagner P G S XPG XS
Field Ensemble P G S XPG XS
Field Funeral Tenor P G S XPG XS
Mahler Hammer P G S XPG XS
Roto Toms RR P G S XPG XS
Snare Ens Large P G S XPG XS
Snare Ensemble Small P G S XPG XS
Taiko Drums P G S XPG XS
Timp Cres L P G S XPG XS
Timp Cres S P G S XPG XS
Timp Hits HandMuf Mod P G S XPG XS
Timp Hits LR P G S XPG XS
Timp Roll DXF Mod Hits P G S XPG XS
Timp Roll DXF Mod P G S XPG XS
Timp Sft Mlt Hits LR P G S XPG XS
Timp Hits Crec L P G S XPG XS
Timp Hits Crec S P G S XPG XS
Timp Roll Rel Crec P G S XPG XS
Timp Roll P G S XPG XS
Metals
All Anvils P G S XPG XS
Anvil Low P G S XPG XS
Anvil P G S XPG XS
Artillery Shells P G S XPG XS
Bowed Crotales P G S XPG XS
Celesta P G S XPG XS
Crotales HandMuf Mod P G S XPG XS
Crotales P G S XPG XS
Glock HandMuf Mod P G S XPG XS
Glock Mellow P G S XPG XS
Glock P G S XPG XS
Hall Noise P G S XPG XS
Huge Anvils P G S XPG XS
Orch Chimes HMuf Mod P G S XPG XS
Orch Chimes P G S XPG XS
Sleigh Bells RR P G S XPG XS
Kompakt Instrument
English 104
Steel Plates P G S XPG XS
Triangle 2 P G S XPG XS
Triangle P G S XPG XS
Various Metals P G S XPG XS
Vibes Acc HandMuf Mod P G S XPG XS
Vibes HandMuf Mod P G S XPG XS
Vibes P G S XPG XS
Waterphone P G S XPG XS
Woods
All Sticks P G S XPG XS
Castanets P G S XPG XS
Guiro RR P G S XPG XS
Marimba P G S XPG XS
Piano P G S XPG XS
Puilli Sticks P G S XPG XS
Slap Sticks P G S XPG XS
Tambourine 2 P G S XPG XS
Tambourine P G S XPG XS
Tiny Puilli Sticks P G S XPG XS
Various Perc P G S XPG XS
Washboard RR P G S XPG XS
Wind Machine P G S XPG XS
Woodblock Symphony P G S XPG XS
Xylophone P G S XPG XS
Metals (continued)
Kompakt Instrument
English 105
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Percussion Tables
Unlike the other three orchestral families, many percussion in-
struments make only a single sound, or a small repertoire of
sounds. Sometimes, instead of creating a separate instrument for
each of these johnny-one-notes, they are grouped together in a
single file with different notes mapped to the different sound-
makers. These collections are different from a drum kit often
used in pop styles, because instead of a collection of dissimilar
instruments played by a single musician in a live convert, these
instruments in EWQLSO are usually related, for example, differ-
ent types of bells.
In other cases, an instrument file contains multiple articulations
of a single physical instrument. For example, a grouping might
contain both hits and rolls for a bass drum.
The tables in this section list instrument names within the files,
and indicate which range of notes play which instrument or artic-
ulation. Note that sometimes there are different timbres when
there are different sizes or shapes of a single instrument group:
for example there are several sizes of snare drums. No attempt is
made to describe these differences here. You will have to audition
the various sounds and decide which one, or ones, are best suited
to your project. In some cases the differences are very subtle.
For most unpitched instruments, but not all, only the keyboards
white keys are used. Of course, for chromatic percussion instru-
ments, like timpani, or the xylophone, all 12 notes in the octave
are used.
In the original verions of EWQLSO, five pitched instruments also
have hand-muffled versions:
Crotales
Glockenspiel
Orchestral chines
Timpani hits
Vibraphone
Because the muffling is controlled by the Mod Wheel, its possi-
ble to achieve the effect of muffling the sound while a note is al-
ready ringing. These articulations are not included in the Pro XP
versions.
Kompakt Instrument
English 106
12" Band Cymbal
C3 Cymbal pair hit, leave open, long ring
D3 Cymbal pair hit, short ring, then close
E3 Cymbal pair hit, close immediately
12" Cymbal
C3 Suspended cymbal roll, slow crescendo
D3 Suspended cymbal roll, medium crescendo
E3 Suspended cymbal roll, fast crescendo
F3 Suspended cymbal hit, long ring
16" German Cymbal
C3 Cymbal pair hit, stay open
D3 Cymbal pair hit, then close
18" Cymbal
C3 Suspended cymbal roll, slow crescendo
D3 Suspended cymbal roll, medium crescendo
E3 Suspended cymbal roll, fast crescendo
F3 Suspended cymbal hit, long ring
18" German Cymbal
C3 Cymbal pair hit, stay open
D3 Cymbal pair hit, then close
18" Viennese Cymbal
C3 Cymbal pair hit, stay open
D3 Cymbal pair hit, then close
19" French Cymbal
C3 Cymbal pair hit, stay open
D3 Cymbal pair hit, then close
Kompakt Instrument
English 107
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Caution: In this instrument and the otherwise similar 20" Cymbal,
the C3 and E3 are reversed.
20" Cymbal
C3 Suspended cymbal roll, slow crescendo
D3 Suspended cymbal roll, medium crescendo
E3 Suspended cymbal roll, fast crescendo
F3 Suspended cymbal hit, long ring
G3 Suspended cymbal brush
A3 Suspended cymbal hit, long ring, and brush
20" French Cymbal
C3 Cymbal pair hit, stay open
D3 Cymbal pair hit, then close
21" French Cymbal
C3 Cymbal pair hit, stay open
D3 Cymbal pair hit, then close
22" Cymbal
C3 Suspended cymbal roll, fast crescendo
D3 Suspended cymbal roll, medium crescendo
E3 Suspended cymbal roll, slow crescendo
F3 Suspended cymbal hit, long ring
G3 Suspended cymbal brush
A3 Suspended cymbal hit, long ring, and brush
23" Gong
C1 Gong roll, fast crescendo
D1 Gong roll, very slow crescendo
E1 Gong slow brush
F1 Gong fast brush
G1 Gong hit, long ring
28" Gong
C2 Gong roll, very slow crescendo
D2 Gong roll, fast crescendo
Kompakt Instrument
English 108
E2 Gong long brush
F2 Gong short brush
G2 Gong hit, long ring
37" Chinese Tam Tam
C0 Tam tam multi-velocity hit
D0-B1 Tam tam bowed effects
C2-G2 Tam tam scrapes
48" Gong
C3 Gong roll, very slow crescendo
D3 Gong hit, long ring
60" Gong
C4 Gong roll, very slow crescendo
D4 Gong long brush
E4 Gong short brush
F4 Gong hard-mallet hit, medium length ring
G4 Gong 10-velocity, medium mallet sustain
60" Gong 2
C1 Gong multi-velocity stick hits
D1-E1 Gong multi-velocity rubber mallet hits
F1 Gong multi-velocity fiber rod hits
G1-E2 Gong scrapes, white keys only
18" Zildjian Roll DXF Mod
A2-F3 Zildjian cymbal rolls
26" Zildjian Roll DXF Mod
A2-F3 Zildjian cymbal rolls
28" Gong (continued)
Kompakt Instrument
English 109
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26" Zildjian Crash
C4 Zildjian cymbal multi-velocity hits
D4-D5 Zildjian cymbal crescendos
E5-B5 Zildjian cymbal scrapes
5 Concert Toms
C1 Lowest tom hit (left hand)
D1 Lowest tom hit (right hand)
E1 2nd tom hit (left hand)
F1 2nd tom hit (right hand)
G1 Middle tom hit (left hand)
A1 Middle tom hit (right hand)
B1 4th tom hit (left hand)
C2 4th tom hit (right hand)
D2 Highest tom hit (left hand)
E2 Highest tom hit (right hand)
Roto Toms RR
B0-C3 Roto toms multi-velocity RR hits (left), pitched
B3-C6 Roto toms multi-velocity RR hits (right), pitched
Mahler Hammer
C1-E1 Mahler hammer multi-velocity hits (left)
C2-E2 Mahler hammer multi-velocity hits (right)
3 Snares
C1 Small snare hit (left hand)
D1 Small snare hit (right hand)
E1 Small snare rim shot
F1 Small snare long roll, mf
G1 Small snare long roll, f
A1 Small snare short roll, fast crescendo
B1 Small snare long roll, slow crescendo
C2 Medium snare hit (left hand)
D2 Medium snare hit (right hand)
E2 <empty>
F2 Medium snare long roll, mf
G2 Medium snare long roll, f
Kompakt Instrument
English 110
These samples use the Mod Wheel to control volume (Dynamic
Cross Fade, or DXF). You can make your own crescendo and di-
minuendo effects.
A2 Medium snare short roll, fast crescendo
B2 Medium snare long roll, slow crescendo
C3 Large snare hit (left hand)
D3 Large snare hit (right hand)
E3 <empty>
F3 Large snare long roll, mf
G3 Large snare long roll, f
A3 Large snare short roll, fast crescendo
B3 Large snare long roll, slow crescendo
3 Snares DXF Rolls
C4 Small snare long roll
D4 Medium snare long roll
E4 Large snare long roll
F4 Small snare long roll, accent at release (last hit)
G4 Medium snare long roll, accent at release (last hit)
A4 Large snare long roll, accent at release (last hit)
Snare Ensemble Large
C3 Large snare drum single hit (left hand)
D3 Large snare drum single hit (right hand)
F3 Large snare drum long roll, looped, mf
G3 Large snare drum long roll, looped, f
Snare Ensemble Small
C3 Small snare drum single hit (left hand)
D3 Small snare drum single hit (right hand)
F3 Small snare drum long roll, looped, mf
G3 Small snare drum long roll, looped, f
Puilli Sticks
C1-D1 Puilli sticks multi-velocity hits
3 Snares (continued)
Kompakt Instrument
English 111
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Tiny Puilli Sticks
C1-D1 Tiny puilli sticks multi-velocity hits
Slap Sticks
C1-D1 Slap sticks multi-velocity hits
All Sticks
This is a collection of slapstick and puilli stick sounds, spread out from C1 to A2. Use
your ear to find whats best for your piece.
All Cymbals
This is a collection of many, many cymbal sounds. In the original version, spread over
5 octaves from C1 to B5. In the Pro XP version, spread over 7 octaves from C0 to B6.
Use your ear to find whats best for your piece.
All Anvils
This is a collection of many, many anvil and railroad track sounds spread out over
more than 3 octaves from C1 to E5. Use your ear to find whats best for your piece.
Anvil Low
This is a collection of many, many anvil and railroad track sounds spread out over
more than 3 octaves from C1 to E4. In general, they are lower in pitch than those in
the collection directly above.
Steel Plates
This is a collection of steel plate sounds spread out from C1 to B1. Use your ear to find
whats best for your piece.
Kompakt Instrument
English 112
This drum is generally lower in pitch than the Bass Drum Concert
instrument above.
Artillery Shells
C1-D1 Shell 1 multi-velocity hits
E1 Shell 1 roll
G1-A1 Shell 2 multi-velocity hits
B1 Shell 2 roll
C2-D2 Shell 3 multi-velocity hits
E2 Shell 3 roll
Bass Drum Concert
C3 Bass drum roll, slow crescendo
D3 Bass drum roll, medium length crescendo
E3 Bass drum roll, fast crescendo
F3 Bass drum long roll, slow crescendo
G3 Bass drum roll, loud start, then soft, slow crescendo
A3 Bass drum roll, loud start, soft, med. length cresc.
B3 Bass drum roll, loud start, then soft, fast cresc.
C4 Bass drum hit (left hand)
D4 Bass drum hit (right hand)
E4 Bass drum hit, lower in pitch
F4 Bass drum hit, louder
G4 Bass drum long roll, looped
Bass Drum Wagner
C1 Bass drum roll, slow crescendo
D1 Bass drum roll, medium length crescendo
E1 Bass drum roll, fast crescendo
F1 Bass drum long roll, slow crescendo
G1 Bass drum roll, loud start, then soft, slow crescendo
A1 Bass drum roll, loud start, soft, med. length cresc.
B1 Bass drum roll, loud start, then soft, fast crescendo
C2 Bass drum hit (left hand)
D2 Bass drum hit (right hand)
E2 Bass drum roll, p
F2 Bass drum loud attack, then p
G2 Bass drum long roll, looped
Kompakt Instrument
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A hand-muffled version is also available in the original version.
The muffling is controlled by the Mod Wheel.
Castanets
C1 Castanets short roll (1 sec) (left hand)
D1 Castanets short roll (1 sec) (right hand)
E1 Castanets long roll (3 sec)
F1 Castanets single hit (left hand)
G1 Castanets single hit (right hand)
Crotales
C3-C5 Crotales pitched chromatic scale
Bowed Crotales
C3-C4 Crotales bowed, long
C5-C6 Crotales bowed, short
Field Drum Ensemble
C4 Field drum single hit (left hand)
D4 Field drum single hit (right hand)
F4 Field drum long roll, mf
G4 Field drum long roll, f
Field, Funeral, and Tenor Drums
C4 Field drum single hit (left hand)
D4 Field drum single hit (right hand)
F4 Field drum roll mf, accent at release (4 sec)
G4 Field drum roll f, looped
A4 Field drum roll, fast crescendo (1 sec)
B4 Field drum roll, slow crescendo (3 sec)
C5 Funeral drum hit (left hand)
D5 Funeral drum hit (right hand)
E5 Funeral drum roll, looped, mf
F5 Funeral drum roll, looped, f
G5 Tenor drum hit (left hand)
A5 Tenor drum hit (right hand)
Kompakt Instrument
English 114
A hand-muffled version is also available in the original version.
The muffling is controlled by the Mod Wheel.
A hand-muffled version is also available in the original version.
The muffling is controlled by the Mod Wheel.
Taiko Drums
C1-F1 26" drum multi-velocity hits (left)
G1 26" drum rimshot
C2-F2 22" drum multi-velocity hits (left)
G2 22" drum rimshot
C3-F3 26" drum multi-velocity hits (right)
G3 26" drum rimshot
C4-F4 22" drum multi-velocity hits (right)
G4 22" drum rimshot
Glockenspiel
A3-C6 Glockenspiel pitched chromatic scale
Glockenspiel Mellow
A3-C6 Glockenspiel pitched chromatic scale
All Gongs
This is a collection of many gong sounds (both hits and rolls) spread out over the
following white keys on the keyboard: In the original version, C1-G1, C2-G2, C3-D3,
C4-G4. In the Pro XP version, C0-F6, white keys only.
Orchestral Chimes
G2-G4 Orchestral chimes pitched chromatic scale
Tambourine
E3 Tambourine single hit (left hand)
F3 Tambourine single hit (right hand)
F#3 Tambourine slow shake (3 sec)
G3 Tambourine fast shake (2 sec)
G#3 Tambourine fast shake (3 sec)
Kompakt Instrument
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These are very slow crescendos, from silence, with a diminuendo
at the end. The higher pitched samples tend to reach the maxi-
mum volume a little more quickly than the lowest pitched sam-
ples. If you need both hits and rolls, it is more efficient to use the
combined samples below.
These are crescendos, with a diminuendo at the end. They are
about half the duration of Timpani Crescendo Long. As with the
previous file, the higher pitched samples tend to reach the maxi-
mum volume a little more quickly than the lowest pitched sam-
ples. If you need both hits and rolls, it is more efficient to use the
combined samples below.
A hand-muffled version is also available in the original version.
The muffling is controlled by the Mod Wheel. If you need both
hits and rolls, it is more efficient to use the combined samples
below.
Tambourine 2
C1-D1 Tambourine multi-velocity hits
G1-G1 Tambourine rolls
A1-A2 Tambourine effects
Timpani Crescendo Long
C1-A2 Timpani crescendo roll, pitched chromatic scale
Timpani Crescendo Short
C1-A2 Timpani crescendo roll, pitched chromatic scale
Timpani Hits
C1-A2 Timpani single hit (left hand), pitched chrom.
C3-A4 Timpani single hit (right hand), pitched chrom.
Kompakt Instrument
English 116
This file includes all the samples from Timpani Hits, and adds in
the samples from Timpani Crescendo Long, except that the cre-
scendo rolls are positioned 4 octaves higher on the keyboard.
This file includes all the samples from Timpani Hits, and adds in
the samples from Timpani Crescendo Short, except that the cre-
scendo rolls are positioned 4 octaves higher on the keyboard.
These are rolls at a constant volume level, as determined by veloc-
ity.
These are rolls with a dynamic cross fade, controlled by the Mod
Wheel. Use this file to achieve greater control over the dynamics
of the rolls.
These are rolls at a constant volume level, until the note (or key)
is released. The release trail includes a crescendo roll that rises
fairly fast and then goes silent (except for the reverberation).
Timpani Hits Crescendo Long
C1-A2 Timpani single hit (left hand), pitched chromatic
scale
C3-A4 Timpani single hit (right hand), pitched chrom.
C5-A6 Timpani longer crescendo roll, pitched chrom.
Timpani Hits Crescendo Short
C1-A2 Timpani single hit (left hand), pitched chromatic
scale
C3-A4 Timpani single hit (right hand), pitched chrom.
C5-A6 Timpani shorter crescendo roll, pitched chrom.
Timpani Rolls
C1-A2 Timpani roll, pitched chromatic scale, looped
Timpani Rolls DXF Mod Wheel
C1-A2 Timpani roll, pitched chromatic scale, looped
Timpani Rolls Release Crescendo
C1-A2 Timpani roll, pitched chromatic scale, looped
Kompakt Instrument
English 117
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These samples are softer single strokes than Timpani Hits.
Timpani Soft Hits
C1-A2 Timpani softer single hit (L hand), pitched chrom.
C3-A4 Timpani softer single hit (R hand), pitched chrom.
Sleigh Bells
C1 Large sleigh bells multi-velocity hits
D1-E1 Large sleigh bells rolls
C#2 Small sleigh bells multi-velocity hits
D2 Small sleigh bells rolls
Triangle
B1 Triangle single hit (left hand), lower pitch
C2 Triangle single hit (left hand), higher pitch
C#2 Triangle single hit (left hand), muffled
D2 Triangle single hit, (right hand), muffled
D#2 Triangle single hit (right hand), lower pitch
E2 Triangle single hit (right hand), higher pitch
Triangle 2
C1-E1 Triangle multi-velocity hits
F1-A1 Triangle rolls
Guirro
C1-B1 Guirro round-robin shakes
Washboard
C1-B2 Washboard round-robin scrapes
Wind Machine
C1-B1 Wind machine effects
Kompakt Instrument
English 118
Woodblock Symphony
G0-C2 Woodblock symphony multi-velocity blocks, pitched (left)
C2-C4 Woodblock symphony multi-velocity blocks, pitched (right)
Various Metals
C1 Bell tree Fast upward glissando
D1 Bell tree Medium speed upward glissando
E1 Bell tree Slow upward glissando
F1 Bell tree Upward glissando, playing last notes
over and over
G1 Mark tree Slow downward glissando
A1 Mark tree Fast downward glissando
B1 Bell, lower pitch Single hit
C2 Bell, lower pitch Roll (tremolo)
D2 Bell, lower pitch Roll (tremolo)
E2 Bell, lower pitch Roll (tremolo) crescendo
F2 Bell, higher pitch Single hit
G2 Bell, higher pitch Roll (tremolo)
A2 Bell, higher pitch Roll (tremolo)
B2 Bell, higher pitch Roll (tremolo) crescendo
Various Percussion
C1 Castanets short roll (left hand) (1 sec)
C#1 Castanets short roll (right hand) (1 sec)
D1 Castanets short roll
D#1 Castanets short roll
E1 Castanets longer roll (3 sec)
F1 Castanets single click (left hand)
F#1 Castanets single click (right hand)
G1 Wood block single hit, lower pitch
G#1 Wood block single hit, higher pitch
A1 Popgun single shot
A#1 Wood block single hit, much higher pitch
B1 Wood block single hit, even higher pitch
C2 ACME noise maker loud, fast
C#2 ACME noise maker loud slow
D2 ACME noise maker soft, fast
D#2 ACME noise maker soft, slow
E2 Policemans whistle short tone (1.5 sec)
F2 Slap stick soft
F#2 Slap stick loud
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There are two separate hand-muffled versions of the Vibraphone
in the original version. The one with Acc in its name has a slight
bump in the accent on the attack.
G2 Ratchet loud, long
G#2 Ratchet loud, short
A2 Ratchet softer, long
A#2 Ratchet loud, long, with pickup
B2 Ratchet louder, long
C3 Slide whistle long rising
C#3 Slide whistle long falling
D3 Slide whistle longer falling
D#3 Slide whistle longer rising
E3 Slide whistle roller coaster (down, up, down, up, etc.)
F3 Tambourine single hit
F#3 Tambourine slow shake (3 sec)
G3 Tambourine fast shake (2 sec)
G#3 Tambourine fast shake (3 sec)
Waterphone
C1-D5 Waterphone effects
Celesta
C2-C7 Celesta pitched chromatic scale
Marimba
F1-C6 Marimba pitched chromatic scale
Vibraphone
F1-F4 Vibraphone pitched chromatic scale
Xylophone
F2-F6 Xylophone pitched chromatic scale
Various Percussion (continued)
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Keyswitch Files
A keyswitch instrument contains several articulations in a single
file, allowing the user to have more than one articulation available
within a single MIDI channel and/or sequencer track. Notes out-
side the range of the instrument are used to switch among the var-
ious articulations. For more detail, see the discussion starting on
page 33.
Because significant changes were made to the organization of
keyswitch files in the Professional XP versions, the information
here is separated into description of the original and newer key-
switches. Note that when you install Professional XP on top of the
original product, you will no longer see the old keyswitches. (If
you absolutely have to use the old keyswitches, you can retrieve
them by moving their .NKI and .NKM files into the appropriate
new folders in the file system, but this is not encouraged.)
Professional XP Keyswitches
The Gold and Platinum keyswitch files have been standardized
into two patterns of articulations that are used throughout. This
change means that if you decide to change a part from, for exam-
ple, a solo oboe to a section of 3 flutes, little or no work needs to
be redone to make the keyswitch generate the correct articula-
tions.
Most string, brass, and woodwind instruments and sections have a
consistent keyswitch file for various sustained articulations with
12 switches that extend from C0 to B0. (Those low instruments
that extend into this range have their switches a few octaves
higher. See the articulation lists, above, for details.)
The pattern that all these files share is on the next page:
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In addition, the Gold and Platinum XP strings have a second key-
switch (from C0 to F#0) with a variety of short articulations:
In many instruments and ensembles in EWQLSO Pro XP, certain
articulations do not exist. The Solo French Horn has no trill sam-
ples, for instance. When you trigger the trill keyswitches in the
Solo French Horn keyswitch program, you hear silence. Silence
alerts you to the fact that the articulation does not exist for that
instrument or section. The keyswitches are standardized, because
it was felt that this would be a great way to allow you to use the li-
brary without having to constantly look at tables or guess what
was in a keyswitch.
There are also a few instrument-specific keyswitches in Gold and
Platinum Pro XP. The following 4 tables specify the mapping for
these individual keyswitch files.
Sustain keyswitches
C0 Sustain vibrato (strings & woodwinds), Sustain non-vibrato (brass)
C#0 QLegato
D0 Tremolo (strings), Flutter tongue (woodwinds & brass)
D#0 Half-step trill
E0 Whole-step trill
F0 Non-vibrato (strings), Portato non-vibrato (woodwinds & brass)
F#0 Expressive 1 (strings & woodwinds), Marcato (brass)
G0 Expressive 2
G#0 Expressive 3
A0 Expressive 4
A#0 Expressive 5
B0 Expressive 6
Short Keyswitches for Strings
C0 Quick up-down (a tight version of martel up-down)
C#0 Marcato up-down
D0 Pizzicato up-down
D#0 Staccato up-down
E0 Spiccato up-down
F0 Col legno up-down
F#0 Bartok pizzicato up-down
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There are no keyswitches for percussion instruments, for the harp,
and for a few other instruments with limited lists of articulations.
6 French Horns Platinum and Gold
6FH KS Cres C0-D#0
C0 1 sec crescendo
C#0 2 sec crescendo
D0 3 sec crescendo to flutter tongue
D#0 fast crescendo to flutter tongue
2 Trumpets Platinum and Gold
2TP KS Cres C0-D#0
C0 1 sec crescendo
C#0 2 sec crescendo
D0 3 sec crescendo to flutter tongue
D#0 fast crescendo to flutter tongue
4 Trombones Platinum and Gold
4TB KS Cres C5-D5
C5 1 sec crescendo
C#5 2 sec crescendo
D5 3 sec crescendo
Solo Piccolo Flute Platinum and Gold
PFL KS FX C0-G0
C0 octave down
C#0 octave up-down
D0 octave up
D#0 glissando
E0 Psycho fall fast
F0 rips up 3rd
F#0 rips up 5th
G0 rips WT
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Original Keyswitches: Platinum and Gold
The tables that follow specify the keyswitches delivered in the
original Platinum and Gold Editions of EWQLSO. If you are not
running Professional XP, then you need to use these tables, and
not the information above.
Where there is Mod Wheel control of the samples on any key-
switched articulation, that is indicated in the rightmost column.
When that column contains the words Cross fade, it means that
the Mod Wheel changes the timbre in some way.
There is an indication near the top of each table as to which edi-
tion(s) it pertains to. Note that the Silver keyswitches are in their
own section at the end.
10 Cellos Platinum only
VCS Keysw Sordino C0-D0 Mod Wheel controls:
C0 Sordino expressive
C#0 Sordino sustain
D0 Sordino legato
10 Cellos Platinum and Gold
VCS Keyswitch C0-E0 Mod Wheel controls:
C0 Vibrato sustain
C#0 Vibrato expressive, fast attack
D0 Big sustain
D#0 Vibrato expressive legato
E0 Legato
10 Cellos Platinum and Gold
VCS Keyswitch C0-G0 Mod Wheel controls:
C0 Vibrato sustain
C#0 Vibrato expressive, fast attack
D0 Vibrato expressive, slow attack
D#0 Lyrical sustain
E0 Non-vibrato sustain Cross-fade to vibrato sustain
F0 Big sustain
F#0 Vibrato legato
G0 Expressive legato
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10 Cellos Platinum and Gold
VCS Keyswitch Trill C0-F#0 Mod Wheel controls:
C0 Vibrato sustain
C#0 Vibrato expressive, fast attack
D0 Big sustain
D#0 Vibrato expressive legato
E0 Legato
F0 Half-step trill
F#0 Whole-step trill
10 Violas Platinum and Gold
VAS Keyswitch C0-F0 Mod Wheel controls:
C0 Vibrato sustain
C#0 Vibrato expressive, fast attack
D0 Vibrato expressive, slow attack
D#0 Expressive legato
E0 Expressive legato Attack accent
F0 Non-vibrato Cross-fade to vibrato
11 Violins Platinum and Gold
11V Keyswitch Trill C0-E0 Mod Wheel controls:
C0 Vibrato sustain
C#0 Lyrical sustain B
D0 Vibrato legato
D#0 Half-step trill
E0 Whole-step trill
11 Violins Platinum and Gold
11V Keyswitch C0-D0 Mod Wheel controls:
C0 Vibrato sustain
C#0 Vibrato sustain B
D0 Vibrato legato
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18 Violins Platinum only
18V Keyswitch C0-A0 Mod Wheel controls:
C0 Vibrato sustain
C#0 Vibrato expressive, fast attack
D0 Lyrical sustain, fast attack
D#0 Lyrical sustain, slow attack
E0 Vibrato expressive, slow attack
F0 Non-vibrato Cross-fade to vibrato expressive
F#0 Slurred sustain
G0 Slurred sustain, fast attack
G#0 Legato
A0 Expressive legato
18 Violins Platinum and Gold
18V Keyswitch C0-D#0 Mod Wheel controls:
C0 Vibrato sustain
C#0 Vibrato expressive, fast attack
D0 Legato
D#0 Expressive legato
18 Violins Platinum only
18V Keyswitch C0-A#0 Mod Wheel controls:
C0 Vibrato sustain
C#0 Vibrato expressive, fast attack
D0 Legato
D#0 Expressive legato
E0 Legato mf
F0 Tremolo
F#0 Short marcato
G0 Staccato, up bow
G#0 Staccato, down bow
A0 Martel, up bow
A#0 Martel, down bow
18 Violins Platinum and Gold
18V Keysw Sordino C0-D0 Mod Wheel controls:
C0 Sordino expressive
C#0 Sordino sustain
D0 Sordino legato
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9 Contrabasses Platinum and Gold
CBS Keyswitch C3-D#3 Mod Wheel controls:
C3 Vibrato sustain
C#3 Big sustain
D3 Vibrato expressive, fast attack
D#3 Legato
9 Contrabasses Platinum and Gold
CBS Keyswitch C3-F#3 Mod Wheel controls:
C3 Vibrato sustain
C#3 Big sustain
D3 Forte-piano
D#3 Vibrato expressive, slow attack
E3 Vibrato expressive with 2 swells
F3 Sforzando
F#3 Legato
Solo Violin Platinum only
SVL Keyswitch C0-A0 Mod Wheel controls:
C0 Legato
C#0 Vibrato sustain soft
D0 Vibrato expressive 1
D#0 Vibrato expressive 2
E0 Vibrato expressive crescendo
F0 Slur
F#0 Non-vibrato soft
G0 Non-vibrato hard
G#0 Vibrato sustain hard
A0 Vibrato sustain, cresc. on release
Solo Violin Platinum only
SVL Keyswitch C0-D0 Mod Wheel controls:
C0 Legato
C#0 Vibrato sustain soft
D0 Vibrato sustain hard
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Solo Cello Platinum only
SVC Keyswitch C0-A0 Mod Wheel controls:
C0 Vibrato sustain smooth
C#0 Vibrato legato
D0 Double bow
D#0 Vibrato expressive, down bow
E0 Vibrato expressive, up bow
F0 Vibrato expressive
F#0 Slur
G0 Non-vibrato
G#0 Vibrato sustain, hard attack
A0 Non-vibrato sustain, attack accent
Solo Cello Platinum only
SVC Keyswitch C0-E0 Mod Wheel controls:
C0 Vibrato sustain smooth
C#0 Vibrato legato
D0 Vibrato double bow
D#0 Vibrato expressive, up bow
E0 Vibrato expressive, down bow
3 Clarinets Platinum and Gold
3CL Keyswitch C0-F0 Mod Wheel controls:
C0 Sustain
C#0 Staccato
D0 Sustain Attack accent
D#0 Sustain Cross-fade
E0 Sustain Cross-fade and attack accent
F0 Legato
Kompakt Instrument
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3 Flutes Platinum and Gold
3FL Keyswitch Trill C0-G0 Mod Wheel controls:
C0 Vibrato sustain
C#0 Sustain
D0 Sustain Attack accent
D#0 Non-vibrato sustain Cross-fade to vibrato sustain
E0 Expressive diminuendo
F0 Half-step trill
F#0 Whole-step trill
G0 Vibrato legato
3 Flutes Platinum and Gold
3FL Keyswitch C0-F0 Mod Wheel controls:
C0 Vibrato sustain
C#0 Staccato
D0 Sustain Attack accent
D#0 Non-vibrato sustain Cross-fade to vibrato sustain
E0 Expressive diminuendo
F0 Vibrato legato
3 Oboes Platinum only
3OB Keyswitch Trill C0-F0 Mod Wheel controls:
C0 Vibrato sustain
C#0 Staccato
D0 Vibrato sustain Attack accent
D#0 Half-step trill
E0 Whole-step trill
F0 Legato
3 Oboes Platinum only
3OB Keyswitch C0-D0 Mod Wheel controls:
C0 Vibrato sustain
C#0 Staccato
D0 Sustain Attack accent
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3 Oboes Platinum only
3OB Keyswitch C0-F0 Mod Wheel controls:
C0 Vibrato sustain
C#0 Staccato
D0 Sustain Attack accent
D#0 Non-vibrato sustain Cross-fade to vibrato sustain
E0 Vibrato Expressive
F0 Legato
Solo Alto Flute Platinum only
AFL Keyswitch C0-E0 Mod Wheel controls:
C0 Vibrato sustain
C#0 Staccato
D0 Non-vibrato
D#0 Vibrato expressive
E0 Legato
Solo Bass Clarinet Platinum and Gold
BCL Keyswitch C0-F#0 Mod Wheel controls:
C0 Non-vibrato sustain p
C#0 Non-vibrato sustain mf
D0 Non-vibrato sustain f
D#0 Staccato
E0 Non-vibrato sustain Attack accent
F0 Expressive crescendo Attack accent
F#0 Legato
Solo Bassoon Platinum and Gold
BSN Keyswitch C0-D0 Mod Wheel controls:
C0 Vibrato sustain
C#0 Staccato
D0 Vibrato sustain Attack accent
Kompakt Instrument
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Solo Bassoon Platinum and Gold
BSN Keyswitch C0-G0 Mod Wheel controls:
C0 Vibrato sustain
C#0 Staccato
D0 Vibrato sustain Attack accent
D#0 Portato
E0 Non-vibrato
F0 Vibrato expressive short
F#0 Vibrato expressive long
G0 Legato
Solo Clarinet Platinum and Gold
SCL Keyswitch C0-D0 Mod Wheel controls:
C0 Non-vibrato sustain
C#0 Staccato
D0 Non-vibrato sustain Attack accent
Solo Clarinet Platinum and Gold
SCL Keyswitch C0-F#0 Mod Wheel controls:
C0 Non-vibrato sustain
C#0 Staccato
D0 Non-vibrato sustain Attack accent
D#0 Portato
E0 Expressive, fast attack Attack accent
F0 Expressive, slow attack
F#0 Legato
Solo Flute Platinum and Gold
SFL Keyswitch C0-D0 Mod Wheel controls:
C0 Vibrato sustain
C#0 Staccato
D0 Vibrato sustain Attack accent
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Solo Flute Platinum and Gold
SFL Keyswitch C0-F#0 Mod Wheel controls:
C0 Vibrato sustain
C#0 Staccato
D0 Vibrato sustain Attack accent
D#0 Non-vibrato
E0 Vibrato expressive legato
F0 Vibrato expressive
F#0 Legato
Solo Contrabassoon Platinum only
CTB Keyswitch C3-D3 Mod Wheel controls:
C3 Vibrato sustain
C#3 Staccato
D3 Vibrato sustain Attack accent
Solo Contrabassoon Platinum only
CTB Keyswitch C3-F#3 Mod Wheel controls:
C3 Vibrato sustain
C#3 Staccato
D3 Vibrato sustain Attack accent
D#3 Portato
E3 Vibrato expressive short
F3 Vibrato expressive long
F#3 Legato
Solo English Horn Platinum and Gold
EHN Keyswitch C0-D0 Mod Wheel controls:
C0 Vibrato sustain
C#0 Staccato
D0 Vibrato sustain Attack accent
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Solo English Horn Platinum and Gold
EHN Keyswitch C0-F#0 Mod Wheel controls:
C0 Vibrato sustain
C#0 Staccato
D0 Vibrato sustain Attack accent
D#0 Vibrato expressive
E0 Non-vibrato
F0 Legato slide
F#0 Legato
Solo Oboe Platinum and Gold
SOB Keyswitch C0-D0 Mod Wheel controls:
C0 Vibrato sustain
C#0 Staccato
D0 Vibrato sustain Attack accent
Solo Oboe Platinum and Gold
SOB Keyswitch C0-G0 Mod Wheel controls:
C0 Vibrato sustain
C#0 Staccato
D0 Vibrato sustain Attack accent
D#0 Sforzando
E0 Legato slide
F0 Non-vibrato
F#0 Vibrato expressive
G0 Legato
Solo Oboe Platinum and Gold
SOB Keysw Trill C0-F0 Mod Wheel controls:
C0 Vibrato sustain
C#0 Staccato
D0 Vibrato sustain Attack accent
D#0 Half-step trill
E0 Whole-step trill
F0 Legato
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Solo Piccolo Flute Platinum only
PFL Keyswitch C0-E0 Mod Wheel controls:
C0 Vibrato sustain
C#0 Staccato
D0 Vibrato sustain Attack accent
D#0 Vibrato expressive
E0 Legato
Solo Piccolo Flute Platinum and Gold
PFL Keysw Trill C0-E0 Mod Wheel controls:
C0 Vibrato sustain
C#0 Staccato
D0 Vibrato sustain Attack accent
D#0 Half-step trill
E0 Whole-step trill
4 Trombones Platinum and Gold
4TB Keyswitch A-1-B-1 Mod Wheel controls:
A-1 Sustain
A#-1 Staccato
B-1 Sustain Attack accent
4 Trombones Platinum and Gold
4TB Keyswitch A-1-D#0 Mod Wheel controls:
A-1 Sustain
A#-1 Staccato
B-1 Sustain Attack accent
C0 Sustain Cross-fade & attack accent
C#0 Forte-piano
D0 Forte-piano, crescendo on release
D#0 Portato & sustain Cross-fade
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4 Trumpets Platinum and Gold
4TP Keyswitch C0-A0 Mod Wheel controls:
C0 Sustain
C#0 Staccato
D0 Sustain Attack accent
D#0 Sustain Cross-fade & attack
E0 Sforzando
F0 Forte-piano
F#0 Forte-piano, crescendo on release
G0 Crescendo
G#0 Slow slur
A0 Fast slur
4 Trumpets Platinum and Gold
4TP Keyswitch C0-D0 Mod Wheel controls:
C0 Vibrato sustain
C#0 Staccato
D0 Sustain Attack accent
6 French Horns Platinum and Gold
6FH Keyswitch Sus C0-D#0 Mod Wheel controls:
C0 Sustain
C#0 Sustain, faster attack
D0 Sustain Cross-fade
D#0 Sustain, faster attack Cross-fade
E0
F0
F#0
G0
G#0
A0
A#0
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6 French Horns Platinum and Gold
6FH Keyswitch C0-A0 Mod Wheel controls:
C0 Sustain
C#0 Staccato
D0 Sustain Cross-fade
D#0 Sustain & attack accent Cross-fade
E0 Portato
F0 Sustain Cross-fade to portato
F#0 Fast slide to sustain
G0 Forte-piano Cross-fade to sustain
G#0 Mellow sustain
A0 Long sforzando
6 French Horns Platinum and Gold
6FH Keyswitch C0-E0 Mod Wheel controls:
C0 Sustain
C#0 Staccato
D0 Sustain Cross-fade
D#0 Sustain Cross-fade & attack accent
E0 Mellow sustain
6 French Horns Platinum and Gold
6FH Keyswitch C0-D#0 Mod Wheel controls:
C0 Sustain smooth
C#0 Sustain Cross-fade
D0 Portato
D#0 Sustain Cross-fade to portato
6 French Horns Platinum and Gold
6FH Keyswitch FX C0-D#0 Mod Wheel controls:
C0 Rips short
C#0 Rips short, alternate
D0 Rips long
D#0 Shakes
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Solo French Horn Platinum and Gold
SFH Keyswitch C0-D0 Mod Wheel controls:
C0 Sustain
C#0 Staccato
D0 Sustain Attack accent
Solo French Horn Platinum and Gold
SFH Keyswitch C0-E0 Mod Wheel controls:
C0 Sustain
C#0 Staccato
D0 Sustain Attack accent
D#0 Sforzando
E0 Portato
Solo Trombone Platinum and Gold
STB Keyswitch C0-D0 Mod Wheel controls:
C0 Sustain
C#0 Staccato
D0 Sustain Attack accent
Solo Trumpet Platinum and Gold
STP Keyswitch C0-D0 Mod Wheel controls:
C0 Sustain
C#0 Staccato
D0 Sustain Attack accent
Solo Trumpet Platinum and Gold
STP Keyswitch C0-G#0 Mod Wheel controls:
C0 Sustain
C#0 Staccato
D0 Sustain Attack accent
D#0 Portato
E0 Vibrato sustain
F0 Sforzando
F#0 Fast slur
G0 Slur
G#0 Crescendo
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Original Silver: Keyswitches
In general there are two type of keyswitch files for Silver:
Pedal Legato
Master
The Master keyswitch files can vary a lot from one instrument to
the next. The tables that follow show which keyswitch notes ini-
tiate which articulations within the file.
In contrast, Pedal Legato files work the same for all instruments.
This Pedal Legato type of file is unique to Silver; neither Gold nor
Platinum has articulation files that work quite the same way.
Pedal Legato Keyswitch Files
These files contain articulations that respond to the MIDI Sustain
Pedal controller (CC64). With the pedal in the off position, a
sustain is heard for each note. Moving the pedal to on cross-
fades the sounds so that a more legato effect is heard.
There are also 3 keyswitches in these files to control the legato
sounds:
Solo Tuba Platinum only
STU Keyswitch C4-D#4 Mod Wheel controls:
C4 Sustain
C#4 Staccato
D4 Sustain Attack accent
D#4 Sforzando
Solo Tuba Platinum and Gold
STU Keyswitch C4-D4 Mod Wheel controls:
C4 Sustain
C#4 Staccato
D4 Sustain Attack accent
Pedal Legato Keyswitches
C0 Normal
C#0 Faster attack
D0 Faster with hard attack
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When the pedal is off, these keyswitches have no significant ef-
fect.
For those five instruments that have notes in the C0 to D0 range,
the keyswitches are all an octave lower (C-1 to D-1). The instru-
ments are 9 Double Basses, Bass Clarinet, Bassoon, Contrabas-
soon, Tuba. Also, the French Horn instrument has 2 of these files,
the second created with a fff layer that affects the cross-fades.
Note that it is possible to map a knob or slider on a MIDI control-
ler keyboard or a control surface to send Sustain Pedal (CC64)
messages. And most sequencers can send Foot Pedal messages
based on an envelope or manually entered MIDI events. That is,
you dont have to buy an actual pedal to take advantage of this
feature, but for controlling the legato while playing in real time, a
pedal can work well.
Master Keyswitch Files
Master keyswitch files provide a variety of articulations in a single
file that can be loaded into a single slot in the Kompakt sample
player. Each instrument has a different array of keyswitches as
seen in the following tables.
All of these articulations respond to MIDI expression messages
(CC11) to control the volume of the samples in real time. This
feature allows you to add expressiveness to your performance. See
page 71 for more about expression control. The articulations in
these files respond to no other MIDI control codes, such as the
Mod Wheel or Foot Pedal.
Some of these files contain an articulation known as Mock stac-
cato. This is an effect produced by altering the sustain samples
with envelopes and filters. It sounds reasonably realistic, espe-
cially when reverberation is added to the mix.
Two of the instruments, 3 Flutes and Solo Oboe, contain a key-
switch on F0 with no articulation marked. If this F note is sent it
causes the file to generate no sounds until a valid keyswitch is
sent. The gap in keyswitches is intentional so that the location of
trills on F# and G is consistent across all instruments that include
trills.
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You can load multiple copies of a keyswitch file into two or more
slots in Kompakt if you want to hear, for example, a staccato bas-
soon and sustain bassoon playing simultaneously.
10 Cellos Silver only
VCS Master Keyswitch Mod Wheel controls:
C0 Soft sustain
C#0 Hard sustain
D0 Staccato up
D#0 Staccato down
E0 Faster attack sustain
F0 Tremolo
F#0 Half-step trill
G0 Whole-step trill
10 Violas Silver only
VAS Master Keyswitch Mod Wheel controls:
C0 Soft sustain
C#0 Hard sustain
D0 Staccato up
D#0 Staccato down
E0 Faster attack sustain
11 Violins Silver only
11V Master Keyswitch Mod Wheel controls:
C0 Soft sustain
C#0 Hard sustain
D0 Staccato up
D#0 Staccato down
E0 Expressive sustain
F0 Spiccato
F#0 Half-step trill
G0 Whole-step trill
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18 Violins Silver only
18V Master Keyswitch Mod Wheel controls:
C0 Soft sustain
C#0 Hard sustain
D0 Staccato up
D#0 Staccato down
E0 Expressive sustain
F0 Tremolo
F#0 Sordino
G0 Expressive sordino
9 Contrabasses Silver only
CBS Master Keyswitch Mod Wheel controls:
C-1 Soft sustain
C#-1 Hard sustain
D-1 Staccato up
D#-1 Staccato down
E-1 Expressive sustain
F-1 Forte-piano
Solo Violin Silver only
SVL Master Keyswitch Mod Wheel controls:
C0 Soft sustain
C#0 Hard sustain
D0 Staccato up
D#0 Staccato down
E0 Expressive sustain
F0 Non-vibrato
Solo Cello Silver only
SVC Master Keyswitch Mod Wheel controls:
C0 Soft sustain
C#0 Hard sustain
D0 Staccato up
D#0 Staccato down
E0 Expressive sustain
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3 Clarinets Silver only
3CL Master Keyswitch Mod Wheel controls:
C0 Soft sustain
C#0 Hard sustain
D0 Staccato 1 (slower attack)
D#0 Staccato 2 (faster attack)
E0 Expressive sustain
3 Flutes Silver only
3FL Master Keyswitch Mod Wheel controls:
C0 Soft sustain
C#0 Hard sustain
D0 Staccato 1 (slower attack)
D#0 Staccato 2 (faster attack)
E0 Expressive sustain
F0 <empty>
F#0 Half-step trill
G0 Whole-step trill
3 Oboes Silver only
3OB Master Keyswitch Mod Wheel controls:
C0 Soft sustain
C#0 Hard sustain
D0 Mock staccato 1 (slower attack)
D#0 Mock staccato 2 (faster attack)
E0 Expressive sustain
Solo Alto Flute Silver only
AFL Master Keyswitch Mod Wheel controls:
C0 Soft sustain
C#0 Hard sustain
D0 Mock staccato 1 (slower attack)
D#0 Mock staccato 2 (faster attack)
E0 Expressive sustain
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Solo Bass Clarinet Silver only
BCL Master Keyswitch Mod Wheel controls:
C-1 Soft sustain
C#-1 Hard sustain
D-1 Mock staccato 1 (slower attack)
D#-1 Mock staccato 2 (faster attack)
E-1 Expressive sustain
Solo Bassoon Silver only
BSN Master Keyswitch Mod Wheel controls:
C-1 Soft sustain
C#-1 Hard sustain
D-1 Staccato 1 (slower attack)
D#-1 Staccato 2 (faster attack)
E-1 Expressive sustain
Solo Clarinet Silver only
SCL Master Keyswitch Mod Wheel controls:
C0 Soft sustain
C#0 Hard sustain
D0 Staccato 1 (slower attack)
D#0 Staccato 2 (faster attack)
E0 Expressive sustain
Solo Flute Silver only
SFL Master Keyswitch Mod Wheel controls:
C0 Soft sustain
C#0 Hard sustain
D0 Staccato 1 (slower attack)
D#0 Staccato 2 (faster attack)
E0 Expressive sustain
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Solo Contrabassoon Silver only
SCB Master Keyswitch Mod Wheel controls:
C-1 Soft sustain
C#-1 Hard sustain
D-1 Staccato 1 (slower attack)
D#-1 Staccato 2 (faster attack)
E-1 Expressive sustain
Solo English Horn Silver only
EHN Master Keyswitch Mod Wheel controls:
C0 Soft sustain
C#0 Hard sustain
D0 Mock staccato 1 (slower attack)
D#0 Mock staccato 2 (faster attack)
E0 Expressive sustain
Solo Oboe Silver only
SOB Master Keyswitch Mod Wheel controls:
C0 Soft sustain
C#0 Hard sustain
D0 Mock staccato 1 (slower attack)
D#0 Mock staccato 2 (faster attack)
E0 Expressive sustain
F0 <empty>
F#0 Half-step trill
G0 Whole-step trill
Solo Piccolo Flute Silver only
PFL Master Keyswitch Mod Wheel controls:
C0 Soft sustain
C#0 Hard sustain
D0 Mock staccato 1 (slower attack)
D#0 Mock staccato 2 (faster attack)
E0 Expressive sustain
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4 Trombones Silver only
4TB Master Keyswitch Mod Wheel controls:
C0 Soft sustain
C#0 Hard sustain
D0 Staccato 1 (slower attack)
D#0 Staccato 2 (faster attack)
E0 Expressive sustain
4 Trumpets Silver only
4TP Master Keyswitch Mod Wheel controls:
C0 Soft sustain
C#0 Hard sustain
D0 Staccato 1 (slower attack)
D#0 Staccato 2 (faster attack)
E0 Expressive sustain
6 French Horns Silver only
6FH Master Keyswitch Mod Wheel controls:
C0 Soft sustain
C#0 Hard sustain
D0 Staccato 1 (slower attack)
D#0 Staccato 2 (faster attack)
E0 Expressive sustain
Solo French Horn Silver only
SFH Master Keyswitch Mod Wheel controls:
C0 Soft sustain
C#0 Hard sustain
D0 Staccato 1 (slower attack)
D#0 Staccato 2 (faster attack)
E0 Expressive sustain
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Pro XP Keyswitches: Silver
The keyswitches in Silver Pro XP follow the basic pattern of the
original Silver Edition, but with a few significant modifications.
Most of what was written about the Silver keyswitches, starting on
page 137, applies here as well. Most of the differences in Pro XP
are in the tables.
Solo Trombone Silver only
STB Master Keyswitch Mod Wheel controls:
C0 Soft sustain
C#0 Hard sustain
D0 Staccato 1 (slower attack)
D#0 Staccato 2 (faster attack)
E0 Expressive sustain
Solo Trumpet Silver only
STP Master Keyswitch Mod Wheel controls:
C0 Soft sustain
C#0 Hard sustain
D0 Staccato 1 (slower attack)
D#0 Staccato 2 (faster attack)
E0 Expressive sustain
Solo Tuba Silver only
STU Master Keyswitch Mod Wheel controls:
C-1 Soft sustain
C#-1 Hard sustain
D-1 Staccato 1 (slower attack)
D#-1 Staccato 2 (faster attack)
E-1 Expressive sustain
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Pedal Legato Keyswitch Files
One of the 3 keyswitches in these files is different from the origi-
nals. The C#0 note is now mapped to the QLegato articulation
Master Keyswitch Files
The listings for the Master Keyswitch files included with Silver
Pro XP follow. They are a major revision from the original Master
Keyswitches.
Pedal Legato Keyswitches
C0 Normal
C#0 QLegato
D0 Faster with hard attack
10 Cellos Silver Pro XP only
VCS Master KS C0-B0 Mod Wheel controls:
C0 Soft sustain
C#0 Hard sustain
D0 Sus vib
D#0 QLegato
E0 QLegato sord
F0 Quick up dn
F#0 Marcato RR
G0 Spiccato
G#0 Bartok pizzicato
A0 Tremolo
A#0 Half-step trill
B0 Whole-step trill
10 Violas Silver Pro XP only
VAS Master KS C0-G#0 Mod Wheel controls:
C0 Soft sustain
C#0 Hard sustain
D0 QLegato
D#0 QLegato sordino
E0 Exp fst
F0 Short martel up dn
F#0 Staccato RR x4
G0 Pizzicato
G#0 Bartok pizzicato
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11 Violins Silver Pro XP only
11V Master KS C0-C1 Mod Wheel controls:
C0 Soft sustain
C#0 Hard sustain
D0 Lyr A
D#0 QLegato
E0 QLegato sord
F0 Harmonics
F#0 Quick up dn
G0 Staccato RR x2
G#0 Spiccato
A0 Spiccato 2 RR
A#0 Half-step trill
B0 Whole-step trill
C1 Scratching FX
18 Violins Silver Pro XP only
18V Master KS C0-A#0 Mod Wheel controls:
C0 Soft sustain
C#0 Hard sustain
D0 QLegato
D#0 QLegato sord
E0 Quick up dn
F0 Spiccato RR
F#0 Pizzicato
G0 Bartok pizzicato
G#0 Tremolo
A0 Sus sordino
A#0 Sus sord exp
9 Contrabasses Silver Pro XP only
CBS Master KS C5-E5 Mod Wheel controls:
C5 Soft sustain
C#5 Hard sustain
D5 Quick up dn
D#5 Exp
E5 Forte-piano
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Solo Violin Silver Pro XP only
SVL Master KS C0-G#0 Mod Wheel controls:
C0 Sus vib hard
C#0 Non-vib hard
D0 Leg vib
D#0 Sus vib exp
E0 QLegato exp P
F0 Staccato RR
F#0 Pizzicato
G0 8va slur up
G#0 8va slur dn
Solo Viola Silver Pro XP only
SVA Master KS C0-G#0 Mod Wheel controls:
C0 Sus vib
C#0 Non vib RR
D0 Non vib hard
D#0 Exp vib sft
E0 QLegato
F0 Marcato hard
F#0 Martel RR x4
G0 Spiccato RR x2
G#0 Pizzicato
Solo Cello Silver Pro XP only
SVC Master KS C0-B0 Mod Wheel controls:
C0 Sus vib P
C#0 Sus vib F
D0 QLegato
D#0 Leg vib
E0 Short
F0 Short 2
F#0 Pizzicato
G0 Sus vib hard
G#0 Sus vib smooth
A0 Sul tasto legato
A#0 Sus vib exp
B0 Double-bow exp
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Solo Contrabass Silver Pro XP only
SCB Master KS C5-F#5 Mod Wheel controls:
C5 Sus vib
C#5 QLegato
D5 Exp
D#5 Marcato
E5 Martel RR
F5 Spic
F#5 Pizz
3 Clarinets Silver Pro XP only
3CL Master KS C0-E0 Mod Wheel controls:
C0 Soft sustain
C#0 Hard sustain
D0 Staccato 1 (slower attack)
D#0 Staccato 2 (faster attack)
E0 Expressive sustain
3 Flutes Silver Pro XP only
3FL Master KS C0-G0 Mod Wheel controls:
C0 Soft sustain
C#0 Hard sustain
D0 Staccato 1 (slower attack)
D#0 Staccato 2 (faster attack)
E0 Expressive sustain
F0 <empty>
F#0 Half-step trill
G0 Whole-step trill
3 Oboes Silver Pro XP only
3OB Master KS C0-E0 Mod Wheel controls:
C0 Soft sustain
C#0 Hard sustain
D0 Mock staccato 1 (slower attack)
D#0 Mock staccato 2 (faster attack)
E0 Expressive sustain
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Solo Alto Flute Silver Pro XP only
AFL Master KS C0-E0 Mod Wheel controls:
C0 Soft sustain
C#0 Hard sustain
D0 Mock staccato 1 (slower attack)
D#0 Mock staccato 2 (faster attack)
E0 Expressive sustain
Solo Bass Clarinet Silver Pro XP only
BCL Master KS C5-F#5 Mod Wheel controls:
C5 Sub vib P
C#5 Sub vib F
D5 QLegato
D#5 Sus vib exp
E5 Staccato
F5 Short fake
F#5 Short fake 1
Solo Bassoon Silver Pro XP only
BSN Master KS C0-E0 Mod Wheel controls:
C0 Sus vib P
C#0 Sus vib F
D0 QLegato
D#0 Sus vib exp
E0 Staccato
Solo Clarinet Silver Pro XP only
SCL Master KS C0-G0 Mod Wheel controls:
C0 Soft sustain
C#0 Hard sustain
D0 Sus vib exp
D#0 Non-vib
E0 QLegato
F0 Staccato
F#0 Half-step trill
G0 Whole-step trill
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Solo Flute Silver Pro XP only
SFL Master KKS C0-G#0 Mod Wheel controls:
C0 Soft sustain
C#0 Hard sustain
D0 Sus NV PPP
D#0 QLegato
E0 Exp
F0 Staccato
F#0 Short staccato
G0 Half-step trill
G#0 Whole-step trill
Solo Contrabassoon Silver Pro XP only
SCB Master KS C5-E5 Mod Wheel controls:
C5 Soft sustain
C#5 Hard sustain
D5 Staccato 1 (slower attack)
D#5 Staccato 2 (faster attack)
E5 Expressive sustain
Solo English Horn Silver Pro XP only
EHN Master KS C0-E0 Mod Wheel controls:
C0 Soft sustain
C#0 Hard sustain
D0 Mock staccato 1 (slower attack)
D#0 Mock staccato 2 (faster attack)
E0 Expressive sustain
Solo English Horn 2 Silver Pro XP only
EH2 Master KS C0-E0 Mod Wheel controls:
C0 Sus
C#0 Portato NV
D0 QLegato
D#0 Exp
E0 Staccato
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Solo Oboe Silver Pro XP only
SOB Master KS C0-A0 Mod Wheel controls:
C0 Sus vib P
C#0 Sus vib F
D0 QLegato
D#0 Exp
E0 Exp P
F0 Staccato
F#0 Short fake
G0 Short fake 1
G#0 Half-step trill
A0 Whole-step trill
Solo Piccolo Flute Silver Pro XP only
PFL Master KS C0-F#0 Mod Wheel controls:
C0 Soft sustain
C#0 Hard sustain
D0 Sus vib
D#0 Sus NV PPP
E0 QLegato
F0 Staccato
F#0 Rips up 5th
2 Trumpets Silver Pro XP only
2TP Master KS C0-E0 Mod Wheel controls:
C0 Sus
C#0 Mute sus
D0 QLegato
D#0 Stac RR x4
E0 Mute stac RR
4 Trombones Silver Pro XP only
4TB Master KS C5-E5 Mod Wheel controls:
C5 Sus
C#5 Mute sus
D5 QLegato
D#5 Staccato
E5 Mute staccato RR
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4 Trumpets Silver Pro XP only
4TP Master KS C0-E0 Mod Wheel controls:
C0 Soft sustain
C#0 Hard sustain
D0 Sus
D#0 Exp
E0 Staccato
6 French Horns Silver Pro XP only
6FH Master KS C0-B0 Mod Wheel controls:
C0 Soft sustain
C#0 Hard sustain
D0 Sus 4 lay smooth
D#0 Sus mellow
E0 Mute sus
F0 QLegato
F#0 Exp
G0 1 sec marc
G#0 Staccato RR
A0 Staccato long
A#0 Staccato short
B0 Cluster
Solo French Horn Silver Pro XP only
SFH Master KS C0-F0 Mod Wheel controls:
C0 Soft sustain
C#0 Hard sustain
D0 Sus
D#0 QLegato
E0 Exp
F0 Staccato RR
Solo Piccolo Trumpet Silver Pro XP only
SPT Master KS C0-E0 Mod Wheel controls:
C0 Sus
C#0 Marc
D0 Stac RR
D#0 Half-step trill
E0 Whole-step trill
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Solo Trombone Silver Pro XP only
STB Master KS C5-G5 Mod Wheel controls:
C5 Soft sustain
C#5 Hard sustain
D5 Sus
D#5 QLegato
E5 Exp
F5 Portato
F#5 Marcato
G5 Staccato
Solo Trumpet 1 Silver Pro XP only
STP Master KS C0-E0 Mod Wheel controls:
C0 Soft sustain
C#0 Hard sustain
D0 Sus
D#0 Exp
E0 Staccato
Solo Trumpet 2 Silver Pro XP only
ST2 Master KS C0-E0 Mod Wheel controls:
C0 Sus NV
C#0 QLegato NV
D0 QLegato vib
D#0 Staccato RR x5
E0 Crescendo 2 sec
Solo Tuba Silver Pro XP only
STU Master KS C5-F5 Mod Wheel controls:
C5 Soft sustain
C#5 Hard sustain
D5 Sus
D#5 Exp
E5 Staccato
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The 3 Mic Positions
Although the information in this chapter relates mostly to the
Platinum Edition of EWQLSO, much of what is discussed here
can help those who own other versions understand how the sam-
ples were recorded. In addition, the original Gold library does in-
clude a selection of samples from the close mics and halls mics.
The Silver library contains a sample from the F microphones only.
Much has been written about extra efforts of the EWQLSO team to
record all samples from three separate microphone positions
within the hall. To understand how the three mic positions work,
lets perform a quick Gedankenexperiment (thought experiment).
Imagine yourself in Carnegie Hall with an entire symphony orches-
tra on the stage.
First, youre invited to sit directly in front of the oboe player who
plays a melody. What you hear approximates the sound recorded
in the close (C) mic position. The sound coming directly from
the instrument is so much louder than the reflections off the
walls and other surfaces that these reverberations make up a
very small part of what you hear.
Next, youre placed in a chair at the very front of the stageor
maybe the front row of the houseand you listen to the same
oboe melody. Now you hear more of the natural reverberation of
the hall because your ears are not so overpowered by the sound
coming directly from the oboe. This sound is captured by the
stage mics, also known as the full (F) mics, a cluster of mi-
crophones near the front of the stage.
Finally, youre asked to sit nearer the back of the house and high
up, maybe at the front of the Balcony. The same oboe melody is
played. From this perspective, the full acoustics of the hall are
most evident because you hear clearly the sound bouncing off
the ceiling, the walls, all the reflective surfaces, in front of you
and even behind. It can be a very lush sound, though perhaps
lacking in the immediacy of a closer position; however, adding
in a little of this sound (either in a stereo mix or in the rear
speakers of a surround-sound recording) can add dimension to
the recording. This mic position was used to create the sur-
round (S) samples, sometimes called the hall mics.
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By adjusting the relative volume of the samples from the C, F, and
S microphones, you can provide an audio zoom that approxi-
mates the human ears ability to focus on an instrument the eyes
can see at a live performance. This is akin to our knack of picking
up a distant conversation at a cocktail party when looking at the
speaker, except that you, the orchestrator, control what the lis-
tener sees.
&
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This is the first orchestral sample library to include user control of
three simultaneous stereo microphone setups (close, stage and
hall) for all instruments and sections. You can mix together any
combination of these microphone positions to control tone and
ambience. Its like virtually repositioning the listener by incre-
mentally moving out from the close mics, to the stage mics, to the
hall mics (known as audio zoom), all in real-time!
All three sets of samples were recorded simultaneously for each
note in the library. Therefore, there are predictable and natural
delays in the time it take the music to reach the further mics. This
latency is the natural reverb of the hall and produces a pleasing
fullness to the sound when the samples are mixed. If you want to
tighten up the reverb from the S samples, it is possible with mod-
ern sequencers and mixers to adjust the audio track from the S
samples a little forward in time. Either perform a calculation us-
ing the speed of sound at sea level (approximately 340 meters/
second; 1100 feet/second, if you prefer) or let your ears decide
what works best.
The close mics, of course, have virtually no latency: only a small
amount necessary to retain the sonic perspective of the orchestra
in the concert hall. If you dont use the close mics, and you play
something that requires very quick and punchy attacks, you may
notice some small delay, which can be cured by adding in some of
the close mics. In most cases you would want to use the close
mics to add definition to an instrument or section. The idea is to
experiment until you find a combination that works.
The picture on the previous page shows the three mic positions
drawn in a diagram of a typical concert hall. The semicircular area
at the top is where the orchestra sits.
All the Cs represent the various positions of the close (C)
mics as they were set up next to each instrument or section.
The mics were near enough to capture the presence of the
instrument, but far enough away to allow the sound of the
instrument to breathe.
The F represents the approximate position of the cluster of
full (F) mics. These are the samples that appear in all 3 edi-
tions of EWQLSO. They provide a best-seat-in-the-house per-
spective.
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The S shows approximately where the hall (S) mics were
positioned.
During sampling, the simultaneous recordings from all three posi-
tions were phase-locked. This attention to detail ensures that the
samples can be bounced down to a single audio track without in-
troducing phasing problems.
Many composers still work in stereo only. You can mix all three
ambiences together without any phasing issues. You will actually
hear a lot of dimension in your stereo mixes. Consider this: if you
render a close mix, a full mix, and a surround mix of every song
you write, you will have an archive that can be used to create sur-
round mixes in the future. And you know it will workperfectly!
This technique also allows you to quickly do wetter or drier re-
mixes in the future.
Reverb Control
Controlling the reverb can be as easy as adjusting the level of sur-
round (S) mics, and turning on or off the close (C) mics. If you re-
quire more control, the volume of the release trails can be altered.
Simply use the group editor in the Kompakt interface; choose the
release trail group, with Edit All unchecked, and change the vol-
ume. Be very careful what you do though; some programs may
have the release trails split into many groups. For these, you need
to change the volumes of all groups. See the printed Operation
Manual, the section about the Kompakt user interface, for more
detail.
Some Sound Advice
Generally, in our opinion, the full (F) mix has the best overall
sound of the three mixes, but a combination of the three mic set-
ups usually creates the most impressive sound. Many instruments
sound best with the close (C) mics turned down in volume (leav-
ing enough of the close mics to add definition).
Try this: Boost the close (C) mics up to 6db (bell shape with a
fairly wide Q) between 5K and 10K. Then roll off the frequencies
below 800Hz so you are down about 10db at 50Hz. Then mix the
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C track into the F track at a low volume to add clarity and sheen to
the stage mics. (Be careful not to use too much of the close mics
with this EQ curve.) Other instruments may sound just right using
an equal blend of all ambiences. Sordino strings sound best using
just the C mics (with no EQ) plus S mics in the mix. The harp
sounds great with a little close (C) and lots of F and S. Again, the
idea is to experiment until you find a combination that works.
In the Platinum library, these samples can be loaded individually,
from files with the .nki extension, or all three perspectives at
once, from a multi file with the .nkm extension.
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Various Ways to Combine the Samples
Using C and S Mics Sparingly
One possible approach when using the Platinum library to create
a stereo mix is to use primarily the F samples and then blend in
just enough of the C samples to provide more immediacy to some
instruments and enough of the S samples to create a more natural
reverb to the overall sound. Theres no reason to keep the mix
constant for the duration of the piece. Maybe youll want to add in
a little extra C on the solos that need to cut through a multi-lay-
ered accompaniment, or push up the S perspective to make the
hunting horns sound more distant when they first appear. Use
your ear and your imagination to find the best mix for both you
and the piece youre working on.
Blending All Three Mics
Another approach is to create three mixes of a piece that are iden-
tical except that they were played with the three separate sets
of samples. Each of the three takes (C, F, and S) is bounced
down to a stereo track. In a final bounce-down, the volume levels
of the three perspectives are adjusted to achieve a single track
with the desired sound. This approach can generate either stereo
tracks or any of the surround sound formats (4.0, 5.1, LCR+LFE,
Matrix UHJ, and many others). More on surround sound comes
later.
Go for the Intimateor the ExpansiveSound
Note that some musical styles can benefit from using the C or S
sound as the starting point. The sound of a recorded wind quin-
tetor other chamber ensemblemight be best approximated by
using mostly the C samples. And a dreamy or mysterious sound-
scape might be more effective when based on the S samples. Let
your ears decide.
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Highlighting a Soloist Within the Orchestra
Start by creating a track of the soloist based mostly on the C sam-
ples, so the sound will stand out. Then push that sound backward
in the soundscape a little by adjusting the EQ of the soloists sam-
ples. Give the sound a bit of a boost at the high end, and a cut in
the low- and mid-range. This will offset the natural proximity ef-
fect of the C samples, and listeners will hear that oboist, for ex-
ample, sitting in the middle of the woodwind section.
Creating a Soloist Up Front
To bring the soloist to the front of the stage, next to the conduc-
tor, as if performing in a concerto, reverse the EQ settings de-
scribed above: cut the high-end frequencies just a little and boost
the mid- and low-end settings. You may want to add just a little
extra reverb to the soloists C samples to make the sound even
more prominent.
Beyond the Panning Controls
As mentioned earlier, all EWQLSO instruments take their tradi-
tional position on the concert hall stage. And the panning position
is reinforced by tiny differences in the arrival of sounds to the left
and right mics. Not only do the sounds directly from the instru-
ment have different arrival times, but so also do the reverbera-
tions from the left and right walls. This is true, though, only for
the F and S mics on the center line of the concert hall; for the C
mics, any difference in timing is imperceptible.
To fit properly in the soundscape, the C samples are programmat-
ically panned left or right to simulate their respective positions on
the stage (you can see that in the Kompakt interface). But pan-
ning only affects relative volume of the two channels.
If you want to pin down perceived location even more strongly
when using the C mics, its possible to time-adjust the left and
right channels separately to move the instrument where you want
it. To reinforce panning an instrument to the listeners left, first
remember that the direct sound in the C mics is stronger than the
natural reverb. Therefore, take its EQed left channel audio and
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move it earlier a few milliseconds; this will simulate the instru-
ments sound arriving at the left mic first. Also, move its EQed
right channel later, as if it took longer for the sound to get to the
right microphone. Reverse those directions to pan the instrument
to the right.
Surround Sound Samples: Stereo Mixing
When using the S samples for two-channel mixes, adding in a lit-
tle of the lush sound of the S mics can convincingly convey the
feeling of a live recording in a concert hall: well, at least as much
as any stereo recording can do that. If you want a realistic concert
hall sound, do not over-add the S samples; a little in the mix may
be all you need. Those looking for other types of recordings (film
scores, audio tracks for games, etc.) should feel free to experi-
ment.
Surround Sound Samples: Surround Sound Mixing
This discussion focuses on the most popular format, 5.1, but the
guiding principles apply to other standards as well.
Heres a starting point for creating the 6 channels you need to
create a 5.1 recording. Feel free to experiment with variations.
Front Center: Take either the left or right signal from the ste-
reo C micsbut not both left and right. Use this to create
the immediacy needed for the front center.
Front Left & Right: The F mics (left and right) are assigned to
the front speakers (left and right). Add in a little of the S
mics here for a lusher overall sound.
Rear Left & Right: The two rear channels accept input from
the two stereo S mics exclusively. Use your judgment about
how much signal to send here, based on the type of record-
ing youre creating.
LFE: Unless you are creating a mix for a hardware environ-
ment with a discreet LFE channel, the system that plays
your music can best determine its own crossover frequency
between the sub-woofer and the other channels based on the
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characteristics of the hardware. Therefore, none of the
music from the EWQL libraries should be added to the LFE
channel. Only non-musical effects, such as explosions and
dinosaur footsteps, should be added to this track directly.
Note that this is a change from earlier advice about surround
sound mixing.
If you are writing for specific hardware that does not provide
its own crossover, then use the older advice, as follows. The
low frequency and effects channel should be pulled from a
mix of all the other channels; that is, the relative volume of
the various mics (including any time delays and EQ applied
separately to discreet channels) should be proportionally
applied to the LFE channel. Be sure you use a crossover fil-
ter that removes from the other 5 channels the exact same
range of frequencies added to the LFE. Not excluding the
low-frequency sounds from the other channels results in
inappropriate doubling of those frequencies.
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1 Product Authorization
Part of the KOMPAKT INSTRUMENT installation is a Product Au-
thorization which has to be fulfilled in order to make permanent
use of the software. We recommend that you take notice of this
chapter first, then proceed with the software installation as de-
scribed in the following chapters and finally return to this chap-
ter.
1.1. What is the Product Authorization?
The Product Authorization includes a full registration. After having
completed the authorization, you can make use of all online ser-
vices related to the registered product. On the Native Instruments
web site you can read online tutorials, get technical support, par-
ticipate in the NI forums and download updates.
KOMPAKT INSTRUMENT requires the Product Authorization in or-
der to use the software permanently. You can run KOMPAKT IN-
STRUMENT for 30 days without any limitations. As long as the
software runs unauthorized, a message at every program start re-
minds you that the authorization has not been completed yet and
indicates how many more days the software will run without an
authorization.
The Product Authorization is performed by a small application
called Registration Tool. The Registration Tool generates a System
ID which serves as request code for receiving an Authorization
Key. The System ID is based on some hardware components of
your computer system, the operating system version and the serial
number you have entered at the KOMPAKT INSTRUMENT instal-
lation.
Note: Exchanging your audio card, MIDI interface or external
equipment will not start the request for a new Authorization Key.
Only exchanging a basic hardware component in your computer or
installing a new operating system might produce a new Product
Authorization request. In this case the Registration Tool will reflect
the change by displaying a new System ID and you have to repeat
the Product Authorization.
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The System ID has to be sent to Native Instruments in order to re-
ceive the Authorization Key, which allows the permanent use of the
KOMPAKT INSTRUMENT. Since the Product Authorization is part
of the license agreement, the KOMPAKT INSTRUMENT will stop
launching after 14 days if it was not authorized before then. Of
course, it is also possible to complete the Product Authorization af-
ter 14 days. In this case the software will launch again as soon as
the Product Authorization has been completed.
Note: The data transfer at the online Product Authorization is
done via a secure connection using 128-bit encryption. Native In-
struments keeps your personal data such as email and postal ad-
dress in confidence. No data will be shared with a third party.
1.2. Conducting the Product Authorization
Native Instruments has set a high value on making the authoriza-
tion procedure as easy and comfortable as possible. In the follow-
ing sections we describe three methods of conducting the Product
Authorization. We recommend Method A and Method B since these
result in the easiest and fastest way of receiving the Authorization
Key.
Method A: KOMPAKT INSTRUMENT computer has direct access to the
Internet
Important: This method requires a valid email address to com-
plete the Product Authorization, since the registration code will
be sent to you by email.
Windows: Start the Registration Tool from the start menu (Pro-
gram East West [Product Title] Registration Tool) or from
the KOMPAKT installation folder (default path: C:\Program-
Files\East West\[Product Title]\Registration Tool.exe).
MacOS: Start the Registration Tool from the KOMPAKT IN-
STRUMENT installation folder (default path: Applications\East
West\[Product Title]\Registration Tool).
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A click on the Register Now button opens the Native Instru-
ments registration web page. Your standard Internet Browser
will be opened and an internet connection will be established
according to your system settings. Your System ID will be auto-
matically transmitted to the registration form.
The first registration page asks for a valid email address. If the
email address you enter is already known by the registration
system, the next page will ask you for the password which you
got from an earlier product registration. If the email address is
new to the system, a new registration process will begin.
Please follow the instructions on the registration web site to
complete the registration. On the last page, you get the mes-
sage Product is successfully registered, and the Authoriza-
tion Code is displayed. Copy this number into the clipboard
and go back to the registration tool where you can paste the
code from the clipboard. Click on the Complete key.
Within one hour you will receive an email from the Native In-
struments registration system containing the Authorization Key.
The Authorization Key is available in the email body and addi-
tionally as text attachment. This email also contains the pass-
word which is required for using the online services.
Start the Registration Tool again and either (a) copy the Author-
ization Key from the email and click on the Paste from Clipb.
button in the Registration Tool or (b) use the Open File button
in the Registration Tool to open the email attachment which
you previously saved to the hard disk.
Click on the Complete button.
Now the KOMPAKT INSTRUMENT Product Authorization has
been completed. The authorization message whenever KOM-
PAKT INSTRUMENT first starts has disappeared and you can
use the software permanently:
Method B: Internet Connection on another computer
Important: This method requires a valid email address to com-
plete the Product Authorization, since the Authorization Key will be
sent to you by email.
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Windows: Start the Registration Tool from the start menu (Pro-
gram East West [Product Title] Registration Tool) or from
the KOMPAKT installation folder (default path: C:\Program-
Files\East West\[Product Title]\Registration Tool.exe).
MacOS: Start the Registration Tool from the KOMPAKT IN-
STRUMENT installation folder (default path: Applications\East
West\[Product Title]\Registration Tool).
A click on the Save Registration File button opens a Save dialog
for saving a HTML file. Save the HTML file to any storage me-
dium.
Transfer the HTML file to another computer where you have in-
ternet access (via floppy disk, CDR, flash drive, etc.).
Open the HTML file in your internet browser.
The HTML page contains a link for the registration page on the
Native Instruments web site. When you click on this link an in-
ternet connection will be established according to your system
settings.
The first registration page asks for a valid email address. If the
email address you enter is already known by the registration
system, the next page asks you for the password which you re-
ceived from an earlier product registration. If the email ad-
dress is new to the system, a new registration process begins.
Follow the instructions on the registration page to complete
the registration. On the last page, you get the message Prod-
uct is successfully registered, and the Authorization Code is
displayed. Copy this number into the clipboard and go back to
the registration tool where you can paste the code from the
clipboard. Click on the Complete key.
Within one hour you will receive an email from the Native In-
struments registration system containing the Authorization Key.
The Authorization Key is available in the email body and addi-
tionally as a text attachment. This email also contains the
password which is required for using the online services.
Transfer the text attachment to the computer where you have
installed KOMPAKT INSTRUMENT.
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Start the Registration Tool again and either (a) copy the Au-
thorization Key from the email and click on the Paste from Clipb.
button in the Registration Tool or (b) use the Open File button in
the Registration Tool to open the email attachment which you
previously saved to the hard disk.
Click on the Complete button.
Now the KOMPAKT INSTRUMENT Product Authorization is com-
plete. The authorization message whenever KOMPAKT INSTRU-
MENT starts has disappeared, and you can use the software
permanently.
Method C: No Internet Connection available
Important: Following this method you will have to fill in a form
which you send to Native Instruments. You will receive the Author-
ization Key either by email (recommended), by postal mail, or by
fax. If you do not provide Native Instruments with a valid email
address in the form, be prepared to type in the Authorization Key
manually (about 60 digits).
If you do not have access to the internet or if you do not have a
working email address, the Product Authorization can also be
done via postal mail or fax. Although Native Instruments goes af-
ter a fast handling of your authorization requests, it is generally
recommended that you prefer Method A or Method B for shortest
return times and most comfortable operation. Please note the
following instructions to fulfill the Product Authorization:
Windows: Start the Registration Tool from the start menu (Pro-
gram East West [Product Title] Registration Tool) or from
the KOMPAKT installation folder (default path: C:\Program-
Files\East West\[Product Title]\Registration Tool.exe).
MacOS: Start the Registration Tool from the KOMPAKT IN-
STRUMENT installation folder (default path: Applications\East
West\[Product Title]\Registration Tool).
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A click on the Fill Out Form button opens a local HTML file in
the operating systems standard browser or another program
which you have defined as standard application for opening
HTML files.
The HTML file contains all information Native Instruments re-
quires for completing the Product Authorization and registra-
tion. Please fill in the required data and print it out, or write a
letter containing the data.
If you write a letter please use legible handwriting to avoid mis-
takes at the Native Instruments registration team. Illegible email
or postal addresses can cause problems with the Authorization Key
delivery.
Send the form to Native Instruments using one of the following
contact addresses:
Native Instruments GmbH
Registration
Schlesische Strae 28
10997 Berlin
Germany
Fax: +49 30 61103535
Native Instruments USA
5631A Hollywood Boulevard
Los Angeles
CA 90028
USA
Fax: +1-323-372-3676
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You will receive the Authorization Key via email (recom-
mended), fax or mail.
Start the Registration Tool again and either (a) copy the Au-
thorization Key from the email and click on the Paste from Clipb.
button in the Registration Tool or (b) use the Open File button
in the Registration Tool to open the email attachment which
you previously have saved to hard disk. If you received the Au-
thorization Key by mail or fax, type it in manually.
Click on the Complete button.
Now the KOMPAKT INSTRUMENT Product Authorization has
been completed. The authorization message whenever KOM-
PAKT INSTRUMENT starts has disappeared and you can use the
software permanently.
1.3. Registration support
If you run into problems during the Product Authorization the Na-
tive Instruments registration support team will be happy to help
you. In this case write an email to:
register@native-instruments.com
Please describe the problem as accurately as possible and provide
the registration support team with the necessary details to solve
the problem.
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2 Installation under Windows
2.1. System Requirements and Recommendations
To use the KOMPAKT INSTRUMENT software, you need a com-
puter with the following minimum specifications:
Hardware
Pentium III/Athlon processor with 1 GHz. Processors with low
floating-point processing performance are expressly not recom-
mended.
512 MB RAM
50 MB free space on your hard disk for the software installa-
tion; see page 53 for the size of your librarys samples.
A sound card compatible with Windows XP.
A MIDI interface for connecting a MIDI keyboard, another
MIDI controller or an external sequencer. The MIDI interface
integrated in many sound cards can also be used.
DVD-ROM drive
The audio engine in KOMPAKT INSTRUMENT has been designed
to make optimum use of the available computing power in the
CPU. The powerful FPUs integrated in modern CPUs are best
suited to carrying out the complex computations of real-time syn-
thesis. We recommend the following high-performance processors
for using KOMPAKT INSTRUMENT: Pentium III or IV, Athlon or
Athlon XP: with 3.0 GHz or faster. We also recommend that you
use a large amount of RAM (2.0 GB or more) that is optimally
matched to the architecture of your processor.
Software
Windows XP
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2.2. Software Installation
Insert the Installation CD into the CD-ROM drive.
Use the Windows Explorer to view the contents of the CD.
Start the installation by double-clicking [Product Title]
Setup.exe. installation. For example: if the Kompakt Instru-
ment title (i.e., the Product Title) is EWSO 1 - Strings, dou-
ble-click on EWSO 1 - StringsSetup.exe.
The setup program will suggest C:\Program Files\East
West\[Product Title] as the path for the destination folder. You
may also choose another folder if you wish.
Installed Folders, Files, and Links
The setup program creates a new folder called [Product Title] in
the installation directory (Program Files\East West). This folder
contains the files required to operate the software.
If you do not choose a different program group during the instal-
lation, links to this KOMPAKT INSTRUMENT and a ReadMe file
are added to the Start menu under Programs East West.
VST Plug-in Installation
Insert the Installation CD into the CD drive.
Use the Windows Explorer to view the contents of the CD. To
start, double-click the [Product Title] Setup.exe file. For exam-
ple: if the Kompakt Instrument title (i.e., Product Title) is
EWSO 1 - Strings, then double-click on EWSO 1 -
StringsSetup.exe.
When the choice is given by the installer, select VST Plug-in
from the list of components to install.
You can now choose to automatically search for the VST plug-in
folder or manually select the VST plug-in folder of your choice.
Please select the option that best suits your installation re-
quirements.
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Note: If more than one host program for VST 2.0 plug-ins is in-
stalled on your computer, simply copy the [Product Title] VST.dll
file into the VST plug-ins folders of these programs (Note: [Prod-
uct Title] means the title of the Kompakt Instrument: for exam-
ple if you are installing the product EastWestStrings, the file
you need to copy is 01EWStringsVST.dll). Windows: If the VST
plug-in files are not visible in the Windows Explorer, select the
Show All Files option. This option is located in the Explorer menu
View Folder Options... on the View tab below Hidden Files. Op-
tionally, you can set up your programs so that they all use the
same VST plug-ins folder.
2.3. DXi 2 Plug-in Setup
DXi 2 is a plug-in interface for software synthesizers and
instruments based on Microsoft DXi technology. Sonar from Cake-
walk and Fruity Loops are the most well known host sequencers
that support DXi.
Installation
Insert the Installation CD into the CD drive of your computer.
Use the Windows Explorer to view the contents of the CD and
double-click the [Product Title] Setup.exe file to start the instal-
lation. For example: if the Kompakt Instrument title (i.e. the
Product Title) is EWSO 1 - Strings, then double-click on
EWSO 1 - StringsSetup.exe.
Continue the KOMPAKT INSTRUMENT installation until you
come to the Choose Plug-ins page. Tick the checkbox Install DXi
Plug-in.
The installation program copies the KOMPAKT INSTRUMENT
plug-in to your hard disk and registers it as a DXi 2 plug-in for
use in DXi 2-compatible host programs. After the installation,
the KOMPAKT INSTRUMENT appears as a plug-in in the host
program.
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3 Installation under Mac OS X
3.1. System Requirements and Recommendations
To use this KOMPAKT INSTRUMENT software, you need a com-
puter with the following minimum specifications:
Hardware
Apple PowerMac G4 800 MHz or faster
512 MB RAM
Audio interface compatible with Sound Manager/ Core Audio
OMS-compatible MIDI interface for connecting a MIDI key-
board or an external sequencer (only for the stand-alone ver-
sion)
50 MB free space on your hard disk for the software installa-
tion; see page 53 for the size of your librarys samples.
DRD-ROM drive
The audio engine in this KOMPAKT INSTRUMENT has been de-
signed to make optimum use of the available computing power in
the CPU. The parallel data processing expansions and powerful
FPUs integrated in modern CPUs are best suited to carrying out
the complex computations of real-time synthesis. This KOMPAKT
INSTRUMENT makes extensive use of these expansions in order
to achieve optimum performance. As a minimum requirement, we
recommend using a G5 1.8 GHz with 2.0 GB RAM.
Software
Mac OS X 10.2.6 or higher (10.3 or higher recommended)
Installing the KOMPAKT INSTRUMENT Software
Insert the Installation CD into the CD drive of your computer.
Double-click the CD icon.
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Double-click the installation program [Product Title] Installer to
start it. For example: if the Kompakt Instrument title (i.e. the
Product Title) is EastWestStrings, double click on EastWest-
Strings Installer.
The start screen appears first. After clicking Continue and con-
firming the license agreement, a dialog opens where you can
select the installation location and the destination folder.
The installation program suggests a path for the KOMPAKT IN-
STRUMENT folder; if you do not select a different destination,
the KOMPAKT INSTRUMENT folder is created on the first hard
disk. You can choose between Easy Install, where both the stand-
alone and plug-in versions are installed, or Custom Install, where
you can select which versions you want to install. (You must in-
clude basic installation on your first-time install, otherwise the
registration tool will not be installed.)
MacOS VST Plug-in Installation
Insert the Installation CD into the CD drive and double-click
the CD icon.
Click the [Product Title] Installer application in the CD folder
(for example: if the Kompakt Instrument title is EastWest-
Strings, double click on EastWestStrings Installer) and select
the Custom installation type.
Select only VST Plug-in from the list of components to install.
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4 Audio Interfaces
Audio interfaces allow KOMPAKT INSTRUMENT to communi-
cate with the audio hardware of your computer and other pro-
grams that you may have installed. This chapter contains
detailed information on the various audio interfaces and how to
use them. The features of the various interfaces are described to-
gether with their suitable applications.
Basically, there are two ways of using KOMPAKT INSTRUMENT:
as a stand-alone or as a plug-in. In following, the two versions
are described together with their corresponding interfaces.
4.1. Stand-alone Application
This method allows you to use KOMPAKT INSTRUMENT as a
stand-alone program with any of the following the interfaces (driv-
ers): MME, DirectSound, SoundManager, Core Audio or ASIO. In
this case, your computer acts as a stand-alone instrument, similar
to a hardware synthesizer with a MIDI port and analog inputs and
outputs. The table contains an overview of which interfaces are
suitable for stand-alone operation on the various computer plat-
forms:
Interface/driver Windows Mac OSX
ASIO 2.0 z
DirectSound z
Core Audio z
Core MIDI z
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4.2. Plug-In
Used as a plug-in, this KOMPAKT INSTRUMENT is not a stand-
alone program but rather a program module that can be inte-
grated into a host program such as a sequencer. Plug-in mode
allows you to integrate it seamlessly with the sequencer. Further-
more, it has many other advantages as a plug-in:
MIDI sequencing of KOMPAKT INSTRUMENT and audio mix-
down of the MIDI tracks within a single program
Comfortable automation of KOMPAKT INSTRUMENT parame-
ters in the sequencer
Further processing of KOMPAKT INSTRUMENT signals using
additional plug-ins
Sample-accurate timing with MIDI controllers (when used as a
VST 2.0 plug-in)
Restoring of all plug-in settings when the host document (such
as a song file of the sequencer) is loaded
Integration with other instruments into a virtual studio
This table provides you with an overview of which interfaces are
supported by which host programs:
Overview of Operating Systems and Plug-ins
The interfaces described below are effectively different ways in
which this KOMPAKT INSTRUMENT can communicate with your
sound card. The interfaces that are available on your computer
depend on the sound card you are using as well as your computer
platform (Windows or MacOS).
Interface/Driver Host Programs Windows Mac
VSTi 2.0 Cubase, Nuendo z z
Cakewalk DXi Sonar z
RTAS ProTools 5 and up, LE, Free z z
Audio Units Logic 6 and up, Digital Performer z
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ASIO (Audio Streaming Input Output) is an sound card driver ar-
chitecture developed by Steinberg. ASIO is available for MacOS
and Windows computers. It offers low latency and supports multi-
channel audio cards. With its high performance and low latency,
the ASIO driver interface is highly recommendable.
DirectSound is an interface developed by Microsoft and is a com-
ponent of DirectX 5.0 or higher for Windows 98/ME/2000/XP.
Whether or not DirectX works well depends on the sound card you
are using. If the audio buffer size that you set is too small with Di-
rectSound, glitches and clicks may occur in the audio.
MME is the standard Wave driver in Windows. Most sound cards
support this interface and work with it quite well. However, MME
is even less suitable than DirectSound for real-time applications.
This is noticeable by a comparatively high latency.
DXI 2 is a standard plug-in interface for software synthesizers and
instruments based on Microsoft DXi technology. Sonar from Cake-
walk and Fruity Loops are the most well known host sequencers
that support DXi.
SoundManager is the standard audio interface for the integrated
audio hardware on Apple computers. The SoundManager audio in-
terface has proven to be easy to use and reliable in real-time ap-
plications with an average latency of approximately 5 ms. With
only the SoundManager interface, you can already play KOMPAKT
INSTRUMENT well without need for an expensive sound card.
Should you require even lower latencies or higher sound quality,
then we recommend using an additional high-quality sound card.
These sound cards also offer support for the SoundManager inter-
face.
Core Audio is a new audio interface available with MacOS X that
allows you to use external audio hardware as well as the inte-
grated audio output of the Mac.
RTAS is based on an interface protocol from DigiDesign that al-
lows you to use plug-ins with ProTools (or other software that is
compatible with DigiDesign). RTAS plug-ins function indepen-
dently from additional TDM hardware and are nonetheless able to
offer the widest range of features. In this case, the host processor
alone performs all of the computations for the plug-in.
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Audio Units is a system-level Apple protocol for plug-ins. It was de-
veloped for the Macintoshs own suite of audio software (Logic,
Garage Band, Sound Track). It is widely adopted as a plug-in in-
terface (Digital Performer, Live).
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5 KOMPAKT INSTRUMENT as Plug-in
5.1. VST 2.0 Plug-in
In addition to the stand-alone version, this KOMPAKT INSTRU-
MENT can also be used as a VST plug-in. The advantages of the
VST 2.0 format allow us to provide you with a powerful plug-in.
For more information on the VST 2.0 format, refer to the user
guide provided with your VST host program.
Using the KOMPAKT INSTRUMENT Plug-in in Cubase SX
Launch Cubase, go to the Devices menu option and select the
VST Instruments menu option.
A window showing the instrument rack appears. Click where it
says No VST Instrument and choose KOMPAKT INSTRUMENT
from the available list of instrument plug-ins. For example,
01EWStringsVST
The plug-in will now appear in your list and automatically be
turned on. It will also create a set of audio channels in your
VST mixer that will be used for mixdown within your project.
This will allow you to mix, pan, and process this KOMPAKT IN-
STRUMENT's output just like any other existing audio track in
your Cubase song.
Click on the Edit button to call up the KOMPAKT INSTRU-
MENT interface. Here you can control and edit all the features
and functions that this KOMPAKT INSTRUMENT has to offer.
Now go to the Project page and add a MIDI track (if you do
not have one already created).
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Go to the Output parameter section for this MIDI Track and
click on the field. This will create a list of available MIDI out
ports to assign to this MIDI track. Choose [Product Title] VST
from the list. For example: if the Kompakt Instrument title (i.e.
the Product Title) is EastWestStrings, choose
01EWStringsVST.
Note: If the title of this KOMPAKT INSTRUMENT product does
not appear in the list of available VST instruments inside your VST
2 host application, then it is not installed correctly. Please refer
to the previous section on installing the plug-in for both Windows
and Mac platforms for more assistance on setting this up.
After having loaded an Instrument from the library you should be
able to trigger it via MIDI using a keyboard controller. The KOM-
PAKT INSTRUMENT's sound will generate through the VST
mixer and directly to your sound card. If the plug-in does not re-
ceive MIDI or generate audio, then make sure to check the fol-
lowing areas:
Make sure MIDI thru is enabled in Cubase.
The MIDI channel of your MIDI track must correspond to the
receive channel of the loaded instrument.
Make sure that you have properly configured your sound card
for use with Cubase.
(Please refer to your Cubase manual for more information)
Using the KOMPAKT INSTRUMENT Plug-in in Nuendo 2 and 3
Launch an empty or current project in Nuendo.
Click on the Devices menu and choose VST instruments from
the menu options (or press F11 on your keyboard).
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A window showing the instrument rack appears. Click where it
says No VST Instrument and choose this products title (for ex-
ample, 01EWStringsVST) from the available list of installed
plug-ins.
The plug-in will now appear in your list and automatically be
turned on. It will also create a set of audio channels in your
VST mixer that will be used for mixdown within your project.
This will allow you to mix, pan, and process KOMPAKT IN-
STRUMENT's output just like any other existing audio track in
your Nuendo project.
Click on the Edit button to call up the KOMPAKT INSTRU-
MENT interface. Here you can control and edit all the features
and functions that this KOMPAKT INSTRUMENT has to offer.
Now go to the Project Editor page and create a MIDI track (if
you do not have one already created).
Go to the Output parameter section for this MIDI Track and
click on the field. This will create a list of available MIDI out
ports to assign to this MIDI track. Choose [Product Title] (v1)
from the list (where [Product Title] is the title of the product
you installed]. Also make sure you assign the MIDI input port
to correspond to whatever MIDI controller your are using.
Record enable the MIDI track.
Note: If the title of this KOMPAKT INSTRUMENT product does
not appear in the list of available VST instruments inside your VST
2 host application, then it is not installed correctly. Please refer
to the previous section on installing the plug-in for both Windows
and Mac platforms for more assistance on setting this up.
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After having loaded an Instrument from the library you should be
able to trigger it via MIDI using a keyboard controller. The KO-
MPAKT INSTRUMENT's sound will generate through the VST
mixer and directly to your sound card. If the plug-in does not re-
ceive MIDI or generate audio, then make sure to check the follow-
ing two areas:
Make sure MIDI thru is enabled in Nuendo.
The MIDI channel of your MIDI track must correspond to the
receive channel of the loaded instrument.
Make sure that you have properly configured your sound card
for use with Nuendo
(Please refer to your Nuendo manual for more information).
Using the KOMPAKT INSTRUMENT Plug-in in Logic
Launch Logic and create an audio instrument track or set an
existing audio or MIDI track to an audio instrument track by
clicking on it, holding down the mouse button and choose Au-
dio Audio Instrument AudioInst 1.
Double click the audio instrument track to open the environ-
ment window. Logic scrolls automatically to the first instru-
ment bus in the Logic mixer.
Choose this KOMPAKT INSTRUMENTs AU plug-in in
the appropriate insert slot of the instrument mixer
bus. Therefore click onto the insert slot, hold down
the mouse button and choose Stereo AU [Prod-
uct Title].
The plug-in now appears in the instrument slot and is
ready to use. The instrument mixer channel will allow
you to mix, pan, and process the KOMPAKT INSTRU-
MENT's output just like any other existing audio track
in Logic.
Double click on the mixers KOMPAKT INSTRUMENT
slot to call up this KOMPAKT INSTRUMENTs interface. Here
you can control and edit all the features and functions that
this KOMPAKT INSTRUMENT has to offer.
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Note: If the title of this KOMPAKT INSTRUMENT product does
not appear in the list of available AU instruments inside your AU
host application, then it is not installed correctly. Please refer to
the previous section on installing the plug-in for both Windows
and Mac platforms for more assistance on setting this up.
After having loaded an Instrument from the library you should be
able to trigger it via MIDI using a keyboard controller. The KO-
MPAKT INSTRUMENT's sound will generate through the AU
mixer and directly to your sound card. If the plug-in does not re-
ceive MIDI or generate audio, then make sure to check the follow-
ing two areas:
Make sure MIDI thru is enabled in Logic.
The MIDI channel of your MIDI track must correspond to the
receive channel of the loaded instrument.
Make sure that you have properly configured your sound card
for use with Logic.
(Please refer to your Logic manual for more information).
5.2. DXi 2 Plug-in
DXi 2 is a plug-in interface for software synthesizers and instru-
ments based on Microsoft's DirectX technology.
Using the KOMPAKT INSTRUMENT DXi 2 plug-in in Sonar
Launch Sonar
In the synth rack choose [Product Title] DXi 2.
Loading the KOMPAKT INSTRUMENT DXi 2 plug-in in the synth rack
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Route a MIDI track to the DXi 2-Plug-in by selecting [Product
Title] in the Out drop down list.
Assign a MIDI track to the KOMPAKT INSTRUMENT-DXi-Plug-in
After having loaded an Instrument from the library you should be
able to trigger it via MIDI using a keyboard controller. The KO-
MPAKT INSTRUMENT's sound will generate through the Sonar
mixer and directly to your sound card. If the plug-in does not re-
ceive MIDI or generate audio, then make sure to check the follow-
ing two areas:
Make sure MIDI thru is enabled in Sonar.
The MIDI channel of your MIDI track must correspond to the
receive channel of the loaded instrument.
Make sure that you have properly configured your sound card
for use with Sonar.
(Please refer to your Sonar manual for more information).
5.3. RTAS
The RTAS format is an interface protocol for Mac OS that allows
you to use plug-ins with ProTools independently from additional
TDM hardware, while nonetheless offering the widest range of fea-
tures. In this case, the host processor alone performs all of the
computations for the plug-in.
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6 KOMPAKT INSTRUMENT Stand-alone Version
The stand-alone version of this KOMPAKT INSTRUMENT allows
you to use the application independently from other programs. In
order to use the Stand-alone version you have to do the audio and
MIDI settings first. You can call up the Audio + MIDI Settings setup
dialog from the System menu of this KOMPAKT INSTRUMENT.
For setting the stand-alone interfaces please choose Audio + MIDI
Settings... from the System menu.
Audio + MIDI Setting dialog
Soundcard tab
Interface
All of the supported (and installed) audio interfaces are available
in this drop-down list. Select the desired audio driver (MME, Di-
rectSound, ASIO, SoundManager, Core Audio) from this list.
Sample Rate
Depending on the sound card and driver you are using, various
sample rates are available. Set the desired sample rate here.
Output Device
Here you can define which of the installed audio interfaces should
be used for the audio outputs based on the driver selected under
Interface.
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Input Device
Here you can define which of the installed audio interfaces should
be used for the audio inputs based on the driver selected under
Interface.
Note: With some interface types (e.g. ASIO or Core Audio), the In-
put Device setting is not available. Instead of that you can set the
inputs for the chosen driver on the Routing tab.
Output Latency
This box displays the output latency. With some drivers you also
get a latency slider for setting an individual latency for this KO-
MPAKT INSTRUMENT.
Routing tab
If you are using a multi-channel sound card, KOMPAKT INSTRU-
MENT also allows you to freely select which channels to use for
the output signals.
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MIDI tab
These two boxes (MIDI inputs and MIDI outputs) display all of
the MIDI inputs and outputs that are correctly installed on your
system. Click in the right column to off or on to activate or
deactivate the corresponding MIDI input or output. From this
point on, KOMPAKT INSTRUMENT sends and receives MIDI on
the activated inputs and outputs.
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7 KOMPAKT INSTRUMENT Architecture
The most basic element used by a sampler is, of course, the sam-
ple itself. This is a chunk of digitized audio that is loaded into
RAM or streamed directly from a hard drive. KOMPAKT INSTRU-
MENT allows you to define a variety of parameters for a sample in
order to turn it into a musical instrument.
A sample loaded into KOMPAKT INSTRUMENT can be defined as
an Instrument. Up to eight Instruments can be grouped together
into a Multi (short for Multi-Instrument). Each Instrument can be
assigned a key range, or zone, which represents the position and
stretching of a sample across the keyboard.
KOMPAKT INSTRUMENT's hierarchical structure allows you to
create complex sounds, or to gather together associated samples
for live performance. One or more Instruments associated to-
gether into a Multi can be edited and effected as a whole using
the Group Edit capabilities. Since each Instrument in a Multi can
have its own MIDI channel, you can easily group together a series
of sounds to use in a live set. You can also create a layered perfor-
mance from a group of Instruments with overlapping key ranges
and global modulation.
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Kompakt Instrument Interface
Each Instrument has its own filter, amp, envelopes, LFOs, effects,
and finally, a master filter.
KOMPAKT INSTRUMENT's interface is divided into five areas:
the Multi, Instrument, Modulation, and Effects sections, and the
Keyboard. The Modulation and Effects areas as well as the Key-
board can be folded up when not in use.
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The Multi Instrument Section
The Multi-Instrument section (or Multi for short) is where you
perform most global Instrument management functions, like
opening and saving Instruments and Multi Instruments, setting
preferences, etc.
Multi Instrument Section
The top field, to the right of the Save button, is where you can
load the Instruments and Multis that come with KOMPAKT IN-
STRUMENT. You can enter a name by double-clicking in this
field and typing in the new name. To edit a name, drag over the
text to be edited and type in your changes.
To load a Multi Instrument, click the upside-down triangle in the
top field and select a Multi from the drop-down menu. The Instru-
ments that make up the Multi will load into a virtual rack, which
can hold up to eight Instruments. To load an Instrument, click
and hold on the upside-down triangle in one of the Instrument
fields below the Multi text field and select an Instrument from the
drop-down menu. It will be added to the Instrument rack.
To save a Multi Instrument, type your chosen name for it into the
Multi text field and click the Save button.
To edit the settings of an Instrument in a Multi, click on that In-
strument's name in the list. KOMPAKT INSTRUMENT's settings
will change to reflect that particular Instrument.
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M: Clicking Mute mutes the Instrument, but allows other In-
struments to play.
S: Clicking Solo mutes all other Instruments so that only the
soloed Instrument or Instruments play.
To the left of the Instrument list, you will find the information
area. This arrangement of text fields gives you information about
each Instrument and lets you make changes to some Instrument
settings.
Sample size: On the top, left of the information area the size of
the current sample is displayed... This is easily identified by
the RAM chip icon.
Polyphony: The top right corner displays the instruments po-
lyphony. The left digit displays the number of notes being
played at any given time, while the right digit shows the maxi-
mum number of notes available. Click and drag the right field
the increase or decrease the maximum number of notes.
CPU usage: Shows current processor activity in percent.
Keyrange: Set the key range of the currently selected Instru-
ment by clicking and dragging up or down in the Keyrange
field. Each sample's key range is represented by an area of
green shading on the on-screen keyboard. Use this with multi-
ple instruments to create keyboard splits. For example, a bass
Instrument could cover the lower two octaves of your keyboard
and a synth the rest.
Transpose: Shift the key of the current Instrument by dragging
up or down.
MIDI channel: Lets you change the MIDI channel that each in-
strument responds to. To change the MIDI channel, click and
hold on this field to access the drop-down menu.
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Output: Makes it possible to route each Instrument to its own
output if your sound card supports multiple outs. Click and
hold on this field to access the Output drop-down menu.
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Options Menu
The Multi area also allows you to set preferences for KOMPAKT
INSTRUMENT. Click on the Options button to select General or
DFD (Direct From Disk) preferences. The DFD extension is only
available on the Native Instruments web site. Follow the Update
link in the About window in order to download the DFD extension
from the Native Instruments homepage.
7.1. General Options

General Options window
In the General Options window, you can set the overall KOM-
PAKT INSTRUMENT preferences.
Master Tune: Adjust the overall tuning of KOMPAKT INSTRU-
MENT in cents.
Sustain/Sustenuto Pedal mode: Use this to set the behavior of
any foot-pedals that you wish to route into KOMPAKT IN-
STRUMENT via MIDI.
Auto-Convert Loaded Samples to 32-bit: Enable this to convert
all loaded samples to high-resolution 32-bit format.
Display Mapping on Keyboard: Enable this to show the keymap-
ping of each Instrument via colored keys.
Use Std. CC#7/CC#10 Volume & Pan: Sets KOMPAKT INSTRU-
MENT to recognize the standard MIDI assignments for volume
and pan controllers.
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Solo in Place: When chosen, solo in place enables single in-
strument soloing only. For example, while having instrument 1
soloed, you click to solo instrument 2. With solo in place you
would un-solo instrument 1 in favor of soloing instrument 2.
Solo latch: Opposite function of solo in place. This function al-
lows you to solo multiple instruments at the same time, simply
by clicking on those you wish to solo.
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Group Edit
Group Edit options
When the Group Edit button is selected, a number of options for
global editing of group settings are activated. The Group Amp win-
dow in the Instrument area opens, as well.
Edit All: When activated, applies any edits you make to all
groups within the instrument.
Group drop-down menu: Allows you to select individual instru-
ment groups for editing.
7.2. Group Amp
Group Amp window
The overall volume, pan, and tuning for each group can be ad-
justed with the Group Amp controls. Each of the three settings
has an LFO amount knob for the associated LFOs. There is also a
Vel knob to route velocity value to a groups volume.
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The Instrument Section

The Instrument window
The Instrument section is where you can make changes to the in-
dividual Instruments of a Multi. You can name an Instrument by
double-clicking in this field and typing in the new name. To edit
a name, drag over the text to be edited and type in your changes.
To save an Instrument, simply click on the Save button to the
left of the Instrument name field. The new instrument will be
saved in your instrument directory.
7.3. Sampler
Microtuning: You can alter the tuning structure of KOMPAKT
INSTRUMENT by selecting from the Microtuning drop-down
menu. Click and hold the Microtuning button to access the
menu.
Velocity Curve: You can customize the way each Instrument re-
sponds to keyboard velocity by using the Velocity Curve con-
trol.
Glide: Determines the amount of polyphonic pitch slide from
note to note.
7.4. Filter
A filter shapes the frequency content of signals that pass through
it. KOMPAKT INSTRUMENT includes a multi-mode filter. En-
gage it by clicking the header bar labelled Filter. There are six
different filter types to help you shape your Instrument.
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Cutoff: Controls the cutoff frequency, or the frequency above
which signals are attenuated, of the selected filter type.
Reso: Sets the amount of filter resonance, or emphasis of fre-
quencies at or just below the cutoff frequency.
Env: Determines the amount of cutoff modulation by the Filter
Envelope.
Key: Adjusts key tracking for the filter cutoff frequency. High
Key values cause the filter to sound brighter (to open more,
basically) higher up the keyboard, while sounding duller (clos-
ing more) towards the bottom. This can mimic the effects of
string tension on a piano (higher at the top of the keyboard,
lower at the bottom), for example. When Key is set to zero, the
filter frequency is unchanged by keyboard position.
Vel: Controls how much effect velocity has on filter cutoff.
LFO: Controls the amount of cutoff modulation by the Filter
LFO.
Select the type of filter by clicking one of the buttons listed be-
low.
: Activates a 1-pole, or 6 dB per octave, low pass filter.
Low pass filters reduce high frequencies while allowing low
frequency signals to pass through.
: Activates a 2-pole, or 12 dB per octave, low-pass filter.
: Activates a 4-pole, or 24 dB per octave, low-pass filter.
: Activates a high-pass filter. A high pass filter leaves high
frequencies in places, but attenuates below the cutoff point.
: Activates a band-reject, or notch filter. A notch filter cuts
a narrow range of the frequency spectrum without affecting
frequencies above or below the notch.
: Activates a band-pass filter. A band pass filter boosts a
specific frequency band, and cuts frequencies above and be-
low the band pass range.
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7.5. Instrument Amp
The Instrument Amp controls the mixing parameters for each In-
strument. This can come in handy when putting together a Multi
with overlapping layers. You can position each Instrument layer
precisely where you want it in the mix.
Volume: Sets the Instrument's output level. Since KOMPAKT
INSTRUMENT sums together all voices at the output, playing
many loud voices at once could result in clipping. Be careful
when you set each Instrument's Volume in order to avoid dis-
tortion (unless that's the kind of thing you are into).
Pan: Allows you to position the Instrument's location within the
stereo sound field. For fine adjustments, hold down the Shift
key while dragging with the mouse.
Tun: This control changes the Instrument's master tuning in
semitones, up to +/- 12 semitones, or one octave. To enable
fine-tuning in cents (1/100th of a semitone), holding down the
Shift key while dragging with the mouse.
Meters: These show the Instrument's signal output level. If the
red clipping indicators light up, reduce the overall level to
avoid distortion.
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The Modulation Section
The Modulation section
KOMPAKT INSTRUMENT includes three envelopes and three
LFOs to help you shape and add movement to your sounds. The
Envelope and LFO headers act as both on/off switches and
switch the view to the selected modulator.
7.6. Envelopes
Envelopes create a modulation curve over time for parameter
control. KOMPAKT INSTRUMENT's envelopes are of the ADSR
(attack, decay, sustain, release) variety, which is the most com-
monly found synthesizer envelope. The KOMPAKT INSTRU-
MENT envelopes include a Hold stage, creating an AHDSR
envelope. A slight amount of hold time coupled with a fast at-
tack is the secret of punchy synthesizer sounds, like basses and
percussion sounds. Two of KOMPAKT INSTRUMENT's enve-
lopes are hard-wired to their parameters, though the Free Enve-
lope can be assigned to one of a variety of parameters. When an
envelope is activated, the header will light up a bright green
color. The currently selected envelope is a brighter green than
those envelopes that are active but not selected.
7.7. Volume Envelope
To engage and access the Volume envelope, click on the Volume
Envelope header in the Modulation section. When properly se-
lected it will turn bright green, you can then edit the parameters.
Attack: Sets the time required for the envelope to go from 0 dB
to its maximum level.
Hold: Sets the amount of time that the envelope stays at its
maximum level.
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Decay: Sets the time required for the envelope to drop from the
maximum level, set by the attack and Hold controls, to the
Sustain level.
Sustain: Sets the level that will be maintained as long as the
MIDI note triggering the envelope is held.
Release: When the MIDI note is released, the Sustain parame-
ter sets the time that the envelope decays back down to 0 from
the sustain level.
Retrigger: Allows you to re-trigger the envelope every time you
play a key or send a MIDI note (i.e., the envelope starts from
the same point each time it's triggered). If disabled, any key
you play while another is down will not retrigger the envelope.
CRV: Sets the amount and polarity of the curve of the enve-
lope's Attack stage. You can use this to create sounds where
the attack stage swoops in gradually (low CRV value), or where
starts more immediately with a steeper curve (high CRV value).
7.8. Filter Envelope
The Filter Envelope offers the same controls as the Volume Enve-
lope described above, but when engaged, affects filter cutoff fre-
quency.
7.9. Free Envelope
The Free Envelope activated
The Free envelope operates just like the Volume and Filter enve-
lopes, but its modulation signal output can be sent to a choice of
destinations, rather than being hardwired. The drop-down menu
under the Retrigger switch lets you pick the modulation destina-
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tion. You can use the Free Envelope to modulate Pan, Tune, Fil-
ter Resonance, and LFO 1-4 amount and speed. The Amount slider
at the far right sets the amount of modulation by the envelope
sent to the destination.
7.10. LFOs
The LFO section (focused on the Filter LFO).
An LFO (or Low Frequency Oscillator) creates continuous modu-
lation signals at sub-audio speeds. Vibrato and tremolo are exam-
ples of LFO signals that effect pitch and volume, respectively.
There are four LFOs available in KOMPAKT INSTRUMENT, al-
lowing you to create complex modulation schemes. Each LFO is
hardwired to its modulation target. You can activate an LFO by
clicking on its header. The currently selected LFO will glow a
bright green, while engaged but not currently selected LFOs will
glow a dimmer green.
Freq: Sets the LFO speed in Hertz. If the Sync switch (de-
scribed below) is engaged, the LFO frequency is displayed in
clock divisions (1/4, 1/8, 1/16, etc.).
Key: Determines whether, and how much, the LFO tracks the
current note pitch. You can use this to force LFO frequency to
change to match playing position on the keyboard (i.e., faster
speeds with higher notes, slower speeds with low notes).
: Engages the sine LFO waveshape.
: Engages the saw LFO waveshape.
: Engages the square LFO waveshape.
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Retrigger: Activates LFO retriggering every time a MIDI note is
received (i.e., the LFO starts over from the same point every
time you play a key). If disabled, any key you strike while an-
other key is down will not retrigger the LFO.
Sync: Allows you to synchronize the LFO frequency to any in-
coming MDI clock signal. You can set the LFO speed to musi-
cally useful clock divisions (like 16th note triplets, for
example) by using the drop-down menu next to the Freq.
Knob.
When the Filter LFO is engaged, you will see a drop-down menu
below the Sync switch. This allows you to specify whether the Fil-
ter LFO signal modulates Cutoff or Resonance.
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The Effects Section
The Effects section
KOMPAKT INSTRUMENT includes three time-based effects
modules and a Master Filter for special effects. Any combina-
tion can be engaged simultaneously (as long as your computer
has enough processing power). You can activate each effect by
clicking on its header. The currently selected effect will glow a
bright green; while engaged, but not currently selected effects
will glow a dimmer green.
7.11. Reverb
Synthesizes the reflections that occur when sound bounces
around in an acoustic space, adding special dimension to a
sound.
Preset: Allows you to select from a variety of pre-programmed
reverb settings.
Size: Sets the room size, which affects how long the reverbera-
tion lasts. Higher values model larger rooms.
Dam: The Damping control sets the amount of absorption of
high frequencies in the room. In real life, absorption is accom-
plished with draperies, acoustic panels, bodies, etc.
The slider at the bottom determines the wet/dry balance. Mov-
ing the slider to the right mixes in more reverb than dry signal.
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7.12. Chorus
This effect thickens the audio signal by doubling the signal and
detuning the copy compared to the original signal. It uses a very
short delay to accomplish this. A pair of LFOs detunes each
channel of the stereo signal to give the impression of movement.
Depth: The amount of LFO modulation. Higher values give a
more pronounced chorusing sound.
Speed: Sets the LFO speed.
The slider at the bottom sets wet/dry mix.
7.13. Delay
Produces echo effects. Very low delay times produce comb-filter
and resonator-like effects. Higher time settings produce a notice-
able echo compared to the dry signal.
Time: The interval in milliseconds between hearing the dry sig-
nal and the first delay of the echo signal. If the Sync switch is
engaged, delay time can be set in musically-useful clock divi-
sions be selecting from the drop-down menu below the Time
knob.
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FDB: Sets the Feedback amount. This sends a portion of the
delayed signal back into the input of the delay line, creating
multiple echoes. A value of zero produces only one repeat.
Higher Feedback values produce multiple (up to infinite) re-
peats.
Sync: Allows you to synchronize delay time to any incoming
MIDI clock. You can then set delay times in clock divisions.
7.14. Master Filter
When activated, the Master Filter acts as a global filter or EQ, af-
fecting the entire signal up until this point. You can use it em-
phasize or attenuate frequencies in your sound
Preset: This drop-down menu lets you access a list of EQ pre-
sets for altering your sound.
: Engages a resonant 4-pole low pass filter. You can alter
the frequency and resonance by clicking and dragging on the
small green dot in the filter display.
: Engages a resonant high pass filter. Alter the cutoff fre-
quency and resonance by clicking and dragging the dot in the
filter display.
: Engages a resonant band-pass filter.
: Transforms the Master Filter into a three-band paramet-
ric equalizer. Each band can be adjusted for cutoff and gain by
clicking and dragging its control dot in the filter display. Con-
trol-clicking on a dot sets the gain for that band to zero. You
can adjust the bandwidth, or cutoff steepness, for each band
by clicking and dragging up or down in the Bandw. text field to
the right of the filter display.
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Cutoff: Lets you set the cutoff frequency for the selected EQ
band or filter in Hertz by clicking and dragging up or down in
the text field. You can also type in values by double clicking in
the field.
Gain: Sets the boost or cut of each EQ band or filter. Adjusts
can be made by clicking and dragging or by double-clicking
and typing in values.
Bandwidth: In EQ mode, you can adjust the range, or band-
width, of each selected EQ band by clicking and dragging in
this field. You can also type in values by double-clicking on
this field and entering numbers from the keyboard.
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Index
Numerics
10 Cellos 73
10 Violas 75
11 Violins 76
18 Violin 79
2 Trumpet 94
24-bit 53, 60
3 Cellos 80
3 Clarinet 86
3 Flutes 86
3 Oboes 87
3 Wagner Tuben 95
4 Trombones 95
4 Trumpets 96
4 Violins 81
5.1 surround sound 162
6 French Horn 97
9 Double Basses 81
A
accent 31, 36
access time 54
articulation file 32
articulation files 32, 35, 54, 61
articulations 31, 38, 48, 66
legato 49
articulations, Pro XP 51
ASIO 24, 178, 186
attack 200
attack accent 68
Audio Interfaces 176
Audio Units 179
audio zoom 156
authorization key 164, 166, 168,
170
authorizing 22
auto-convert to 32-bit 194
B
bandwidth 207
Bartok pizzicato 70
bend 66
bounce-down 160
bouncing MIDI 58
brass 30
buffers
memory total 57
preload 54, 56
voice 54, 56
butter legato 71
C
Choirs 11
chorus FX 205
chromatic sampling 61
col legno 70
concert hall 157
connections
audio 24
MIDI 24, 25
Core Audio 24, 178, 186
CPU usage 192
credits 16
crescendo 68
on release 68
cross fade 138
cross-fade 35, 36
CRV 201
Cubase 180
cutoff 198, 207
cutoff modulation 198
Cymbals & Gongs 102
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dam 204
damping 204
decay 201
delay 42, 54, 157, 205
depth 205
DFD 53, 57, 194
extensions 21
diminuendo 69
Direct From Disk 53
buffers 54
DirectSound 24, 178, 186
display mapping on keyboard 194
distortion 199
double-tongue 69
down-bow 67
downloads 21
Drums 103
DXF 35
DXi 2 plug-in 178, 184
dynamic cross fade 35
dynamics 42
E
edit all 196
effects 163
effects section 204
embouchure 66
emotion 71
env 198
envelope
volume 200
envelopes 200
EQ 161
expression 44
F
fake ensembles 49, 51
fall 69
fast bounce 58
FDB 206
filter 197
band-pass 198, 206
high-pass 198
low-pass 198
notch 198
filter envelope 201
filter LFO 203
flautando 70
flutter tongue 69
forte piano 68
free envelope 201
French Horn 70
freq 202
G
gain 207
gaps 55
general options 194
glide 197
glissando 69
Gold Edition 28
Platinum, Silver compared 60
installing 17
grace note 69
group amp 196
group drop-down menu 196
group edit 196
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H
Har 82
hard drive 18, 54, 58
hardware 53, 61
Mac 174
Windows 171
harmonics 70
harp 159
Harpsichord 82
hold 200
horns 160
I
input device 187
installation
Windows 171
instrument amp 199
instrument section 197
instruments 27, 30, 31, 189
unpitched 105
interface 186
J
Johnson, Keith O., Prof. 10, 15
K
key 198, 202
keyrange 192
keyswitch 32, 33, 39, 120
Gold & Platinum 120
master 138
original 123
pedal legato 137, 146
short 121
Silver 137
sustain 121
Kompakt 35, 37, 56, 158
hosting 25
multis 32
L
layered sounds 38
legato 48, 49, 66
LFE 162
LFO 198, 202
LFO knob 196
license 22
Logic 183
looped samples 66
low frequency oscillator. See LFO
lyrical 71
M
marcato 66
martel 70
master filter 206
master keyswitch 146
master tune 194
memory total 57
menus 30
Metals 103
meters 199
mic positions 45, 61, 155
close mics 155, 157, 160
full mics 155
stage mics 155, 159
surround mics 155
microtuning 197
MIDI 24
channel 38, 39, 192
control #64 138
control code #11 44
control code #7 36, 44
Note-On message 44
settings 186
MIDI envelope 46
MIDI tab 188
MME 24, 178, 186
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Mod Wheel 32, 34, 37, 44, 105
MIDI control 35
modulation section 200
multi 37
in a sequencer 28
multi instrument 191
MultiMedia 24
multis 189
mute 70, 192
N
non-vibrato 68
Nuendo 181
O
options 194
output 193
output device 186
output latency 187
output level 199
P
pan 199
panning 40, 161
parameters, DFD 56
percussio 30
percussion 105
hand-muffled 105
phase 158
Phoenix, Nick 9
piano roll 33, 39
pitchwheel 48
pizzicato 70
planning 18
Platinum Edition 27, 45, 155
Gold, Silver compared 60
installing 17
Kompakt players 26
original 73
plucked strings 70
plug-in 177, 180
polyphony 32, 55, 192
pops 55
portato 67
post-production 14
presence 42
preset 204, 206
product authorization 164
Q
QLegato 49
R
RAM 18, 55, 189
ReadMe!.txt 19
recording notes 12
recording practice 13
registration tool 164, 168
release 201
release trails 47, 61
amplitude-matching 47
repetitions. 50
reserved voices 56
reso 198
resonance, filter 198
retrigger 201, 203
reverb 40, 42, 47, 158, 160, 204
rips 69
Rogers, Doug 8
round-robin 50, 70
routing tab 187
RR x3 50
RTAS 178, 185
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S
sample 189
sample rate 186
sample size 192
sampler 197
samples 32, 51
samples, sizes of 53
sampling
phase-locked 158
sampling depth 60
save 197
sequencer 28, 39, 120
automation 45
envelope 44, 46
setup
MIDI tab 24
Routing tab 24
Sound Card tab 24
stand-alone 24
Setup.exe 19
setups, Decca 12
sforzando 68
shake 70
shotgun effect 49
Silver Edition 28
Platinum, Gold compared 60
installing 17
original 73
size 204
slide 67
slur 66
solo 192
Solo Bass Clarinet 88
Solo Bassoon 89
Solo Cello 83
Solo Clarinet 89
Solo Contrabass 83
Solo Contrabasson 90
Solo English Horn 91
Solo English Horn 2 91
Solo Flute 92
Solo French Horn 99
solo in place 195
solo latch 195
Solo Oboe 93
Solo Piccolo Flute 94
Solo Piccolo Trumpet 99
Solo Trombone 100
Solo Trumpet 1 100
Solo Trumpet 2 101
Solo Tuba 102
Solo Viola 84
Solo Violin 85
soloist 161
solos 160
Sonar 184
sordino 70
sordino string 159
sound card 24, 53
sound, speed of 42
soundcard tab 186
SoundManager 178, 186
speed 205
spiccato 70
staccato 50, 67
stand-alone 176, 186
String Ensembles 82
strings 30
sul ponticello 70
surround sound 160, 162
sustain 36, 66, 201
sustain/sustenuto pedal mode 194
sync 203, 206
system ID 164, 166
Kompakt Instrument
English 213
E
N
G
L
I
S
H
T
terminology 31
timbre 42, 44
time 205
transpose 192
tremolo 71
trill 69
tun 199
tuning, master 199
U
up-bow 67
upbow & downbow 50
upgrading 20
use std. CC#7/CC#10 194
V
vel 198
vel knob 196
velocity 35, 43
velocity curve 197
vibrato 36, 67
virtual memory 58
volume 35, 43, 199
VST 2.0 plug-in 180
W
welcome 7
Woods 104
woodwinds 30
X
XFade 34