broadway big band - kontakt edition - manual v1.0.1

8/13/2019 Broadway Big Band - Kontakt Edition - Manual v1.0.1

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roadway ig and – Kontakt EditionManual v1.01

Chapter : Introduction

Thank you for purchasing Broadway Big Band – Kontakt Edition!

Congratulations. We are confident that Broadway Big Band – Kontakt Edition will change the way you look at

contemporary midi orchestrations, and that it will change your workflow forever. The Broadway Big Band – Kontakt

Edition package, like its predecessor (Broadway Big Band) includes nearly 100GBs of multi-sampled audio content and a

package of its accompanying software programs. In order to achieve the desired level of realism with the various

sampled instruments, without sacrificing the efficient and intuitive workflow, we have come up with some new concepts

that we believe you will find both helpful and easy to use and understand. This Manual will introduce these concepts to

you and will guide you through the technical steps of installing and using Broadway Big Band and Broadway Performer,

and will offer various tips about how to get the most out of this powerful and inspiring virtual instrument package, and

will hopefully provide you with a quick and easy learning curve.

If you are cross grading from Broadway Big band, or are familiar with the HALion powered version of Broadway Big Band,

you will find that Broadway Big Band – Kontakt Edition substantially simplifies your workflow and makes it faster and

easier. You should still read through the manual, as many new features have been added, and the entire software side of

it has been completely revamped and improved.

There is also much improved documentation of the various key switches and articulations.

AND HERE IS AN IMPORTANT NOTE:

Most of you are very experienced users of midi sequencers samplers and virtual instruments and tend to "learn as you

go" and not follow manuals. We urge you:

PLEASE READ AND FOLLOW THIS MANUAL!

There are a few very unusual elements in Broadway Big Band that affect setup and workflow. If you don't follow this

manual you are very likely to run into problems! Take the time, read and follow. It will be worth it and will save you time in

the long run.

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

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hapter ;: Installation and registration

1) 3egistration

8irst" you need to register your product.

◦ 'o to: www.fa)lesounds.co!<register

◦ Click the 7ew user registration7 link and follow the on(screen instructions.

◦Click the =3egister product7 link and follow the on(screen instructions.0ou will )e asked to enter the serial nu!)er thats printed at the )otto! right corner of the ,uick(start

guide page" included in the product )o6.

t the end of the process" the syste! will send you the acti#ation serial nu!)er that you will use in step >.

*** f you are registering a cross-grade product you must register your previous (HALion) version first. ***

2) Installation :

+ut the software installation C2 in your C2<2?2 dri#e and run the installer.

hen pro!pted to select a folder for the li)rary" you should select a folder on a large enough hard(dri#e to

acco!!odate the 1&&'B of the audio content of Broadway Big Band" and fast enough to strea! audio fro!.

3) Copying the audio content to your hard(dri#e :

fter running the installer" you need to copy the contents of all the 1@ 2?2s" all into the 74*+/E47 folder thatresides inside the 7Broadway Big Band – Kontakt Edition7 li)rary folder.

4) dd li)rary:

fter all files ha#e )een copied to the 74a!ples7 folder" open K5TKT @ or K5TKT @ +layer" go to the 7/i)rary7

ta)" and click the 7dd li)rary7 )utton. 0ou will )e pro!pted to )rowse for the li)rary folder. 0ou should select

the 7Broadway Big Band – Kontakt Edition7 li)rary folder.

5) cti#ation:

In the A/i)raries= ta) you will see Broadway Big Band listed with an Acti#ate= )utton right )y it. Click the

Acti#ate= )utton. This will launch the ati#e Instru!ents 4er#ice Center. 0ou will )e asked to enter the

acti#ation serial nu!)er that you recei#ed )y e!ail fro! the 8a)le 4ounds registration syste!. fter that" you

will ha#e to restart Kontakt or Kontakt +layer )efore you can open Broadway Big Band instru!ents withoutrestrictions.

6) Check the 8a)le 4ounds we)site for updates. $www.fa)lesounds.co!%

hapter : /oading instru!ents

If you are fa!iliar with Kontakt powered instru!ents you can skip this chapter.

1% 'o to the A/i)rary= ta). ABroadway Big Band= should )e listed.

;% Click on the gray ABrowse= )utton on the ABroadway Big Band= )anner.

% In the AInstru!ents= folder there are folders: ABrass=" A3eeds=" and A3hyth! 4ection= In each of these folder

you will find su)(folders representing each of the instru!ents of these sections. Browse to the instru!ent you

wish to load. Inside the instru!ent(specific folder" you will find se#eral #ersions of that instru!ent. 8or /egato

instru!ents" you will find legato #ersions and polyphonic #ersions. 8or all instru!ents $with the e6ception of the

dru!(kits% you will find se#eral different !icrophone setups to choose fro!. $!ore on that in chapter %

@% To load an instru!ent" Dust dou)le(click it" or drag(and(drop it into the instru!ent interface area.

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hapter @ – +olyphonic #s. /egato Instru!ents

Broadway Big Band includes )oth polyphonic and legato instru!ents for use in your recording sessions. -owe#er each

one has certain ad#antages and draw)acks which !ake the use of one or the other !ore )eneficial in certain gi#en

situations.

/egato Instru!ents:

The ad#antage of using the legato instru!ents is in the added realis! that is achie#ed )y the real pre(recorded note

transitions. The legato instru!ents include real pre(recorded note transitions such as legatos and glissandos which !ake

the perfor!ance !uch !ore realistic and con#incing. -owe#er" it only allows you to play one note at a ti!e $Dust as with

a real wind instru!ent.%

In order to take ad#antage of the real prerecorded note transitions $i.e." legato inter#als etc.% you should o#erlap notes.

+lay the ne6t note )efore releasing the current one" and the sa!ple of the inter#al )etween the current note and the

note will )e played.

If you do continue holding the current note e#en after releasing the ne6t" the Broadway +erfor!er will play the inter#al

)ack to the current note. This techni,ue is #ery useful if you want to play a trill or a tre!olo )etween two notes.

+olyphonic Instru!ents:

The polyphonic #ersion of the instru!ents is !ore desira)le for li#e perfor!ance situations in which realis! is secondary

and the i!pact of playing !ultiple notes si!ultaneously $i.e." chords% is desired" or in the sketching stage in which you

!ay want to )e a)le to play the entire har!ony in one pass" instead of playing each #oice separately.

4o!e of the instru!ents include polyphonic and si!ulated legato #ersions only. 8or those instru!ents" real pre(

recorded note(transitions were not recorded. 8or e6a!ple" in the case of ;nd Tru!pet" ;nd lto 4a6ophone" and ;nd

Tenor 4a6ophone" the instru!ents are generally there as o#erlay instru!ents" !ostly to )e used in case you need the

section to play in unison. $E#en so" they usually do sound good enough to )e used as secondary instru!ents throughout

the arrange!ent.%

hile the polyphonic instru!ents do not include real prerecorded note transitions" they do work with the #irtual key(

switch syste! in e6actly the sa!e way as the legato instru!ents" and !ost of the! offer a si!ulated legato !ode"which ena)les a fairly con#incing way of playing !elodic legato lines easily.

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hapter >: rticulation key(switching in Broadway Big Band

Broadway Big Band offers a #ery wide #ariety of articulations for its !ain instru!ents" all of which are always readily

a#aila)le for real(ti!e use #ia what we call A#irtual key(switching=. This chapter will e6plain the uni,ue $patent(pending%

key(switching syste! introduced in Broadway Big Band and Broadway Big Band – Kontakt Edition" that e!ploys the

concepts of !ultidi!ensional state(!achines" te!porary articulations" and syste!atic key(co!)inations.

If you are cross(grading fro! Broadway Big Band" you are already at least so!ewhat fa!iliar with this su)Dect" howe#er"this chapter has )een !uch si!plified co!pared to the old !anual and this new approach to e6plaining the syste! !ight

shed !ore light on it and !ay help adding clarity to your understanding of the syste!.

Traditional key(switches are !erely patch selectors" pressed )efore playing the notes that need to )e affected. There

are se#eral pro)le!s with that traditional approach when trying to i!ple!ent it for a #irtual instru!ent such as

Broadway Big Band. The first pro)le! is that following that traditional !ethod" it will take nearly half of the !idi

key)oard only to pro#ide for all of the articulations of the !ain tru!pet" which will not lea#e enough keys for the

playa)le range" and it will )e incredi)ly difficult to !e!orie the location for the nu!erous articulations. The other

pro)le! is that traditional key(switches re,uire you to press a new key switch for each articulation change" e#en if you

only need to go )ack and forth fro! a regular sustain articulation to a staccato articulation for e6a!ple. That is ,uite

annoying" and can )eco!e co!pletely prohi)iti#e for real(ti!e applications in arrange!ents that in#ol#e rapid

articulation changes. nother disad#antage of traditional key(switching" is that once a note has )een played" it cant )e

affected )y further key(switching" so if for e6a!ple" you want to play a fall articulation at the end of a sustained note"

traditional key(switching si!ply doesnt cut it.

4o in order to ena)le intuiti#e and !usical real(ti!e access to all of the articulations of an instru!ent" to fit all key(

switches in an ergono!ic !anner $no !ore than an octa#e and a half of key(switch area on the key)oard% and ena)le

easy and rapid dyna!ic and fluid articulation changes" we de#eloped our #irtual key(switch syste!.

5ur syste! includes a few different types of key(switches" characteried )y se#eral different types of )eha#ior.

4o!e change the instru!ents playing state" so!e trigger special articulations" and so!e offer e6tended #ariation of

!usic articulations through key(co!)inations. Each of these types is color coded on the #irtual key)oard.

The !ultidi!ensional state(!achine:hat is a !ultidi!ensional state(!achineF

hen you choose to play with a certain type of #i)rato or another" or !ay)e with no #i)rato at all" you change the

playing state of the instru!ent in one di!ension: ?i)rato. hen you want to play with flutter(tonguing or growling" or

without those effects" youre dealing with another di!ension of the instru!ent. hat if you want to play with plunger

effects or without the!F Thats another di!ension of the instru!ent. nd choosing the type of plunger pattern is

another di!ension. Each of these choices while residing on a separate di!ension of the instru!ent" can )e selected

without affecting the other" and the co!)ination of choices on !ultiple di!ensions create new co!)ined states. If for

e6a!ple" you turn on the flutter(tonguing state" while already )eing in plunger(pattern state" you get a selection of

plunger effects with flutter(tonguing" and if flutter(tonguing is on" when you hit the key(switch associated with a A8all=

articulation" it will trigger a Afall with flutter(tonguing= articulation. The a)ility to not Dust select the technical patch with

the sa!pled articulation in a technical !anner" )ut rather !ake your selection in an intuiti#e and !usical !anner" while

each !usical ele!ent has its own independent control !akes it )oth easier to use" and far !ore efficient in key)oard

real(estate" )ecause in each playing state" the !eaning of a key(switch can change and !usically lead to a different

result than it would ha#e lead to in a different playing state.

This is a #ery i!portant concept to understand. Each key(switch can )e designated se#eral different functions" that

change and adDust )ased on acti#e playing states in the #arious di!ensions of the instru!ent and the !usical conte6t.

To a#oid confusion a)out the co!)ined playing state" the !ain ta) of the instru!ents interface is the A?irtual Key(

switch *onitor=" which offers #isual !onitoring of the playing states in all of the instru!ents di!ensions. *ore on that in

chapter G.

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Te!porary rticulations:

5ne other original concept first introduced to #irtual instru!ents )y Broadway Big Band" is )i(directional key(switchesH

key(switches intended for special articulations that are only needed for a !o!ent" te!porarily" and not as an articulation

to play entire !elodies in. $8alls" shakes" etc...% Traditional key switches affect all the notes played after the!. If you want

to go )ack to playing with sustain sa!ples after playing an effect" using traditional key switches you will ha#e to press

the effect key" play the effect note" then ,uickly press the sustain key(switch again $and youd )etter re!e!)er which

#i)rato type you were using prior to switching to the effect% and only then can you play the rest of the !elody. ith

,uick passages this is si!ply i!practical. Bi(2irectional key(switches !ake the whole thing !uch easier" )ecause notes areonly )eing affected )y the! while theyre pressed and held down. 5nce a Bi(2irectional key(switch is released" the

instru!ent goes )ack to playing in its acti#e playing state" re!e!)ering the type of #i)rato last used and whether or not

plunger or flutter where acti#ated. This !akes it !uch easier to perfor! e#en #ery co!plicated phrases flawlessly and in

real(ti!e.

cti#e Key(switches $A8ro! sustain=%:

This is yet another concept" first introduced to #irtual instru!ents )y Broadway Big )and.

These key(switches" typically using the sa!e physical keys as non(acti#e key(switches of a si!ilar articulation" affect

notes that are already )eing played" and acti#ely trigger sa!ples of articulations that were recorded as Afro! sustain=.

8or e6a!ple" if you press and hold $8&% and then play a note" the note will )e played with a A8all= articulation. If you on

the other hand" play a sustained note and then" while still holding the note" you click the sa!e $8&% key(switch" a A8all

fro! sustain= sa!ple will )e instantaneously triggered" causing the sustained note to end with a fall. This would )e an

Acti#e Te!porary rticulation=.

nother e6a!ple: if you click the $8&% key(switch and then play a note" the note will play with flutter(tonguing effect"

played with a soft attack and a !ild crescendo" and if you played a note $without flutter(tonguing% and clicked the sa!e

$8&% key(switch while still holding the note" the note will intently cross(fade and change fro! a clean sustained note to a

note with a flutter tonguing effect. This would )e an Acti#e hange of +laying 4tate=.

There is also one uni,ue key(switch a#aila)le for the ATenor(4a6ophone 1= instru!ent" which acti#ely changes

articulations )oth when )eing pressed and when )eing released. Its articulation is Alternate 8ingering= and you can go

)ack and forth on the fly )etween standard fingering and alternate fingering" Dust )y pressing that key(switch and

releasing it. This would )e ABi(2irectionally cti#e Te!porary articulation=.

Key(4witch Co!)inations:

This is a si!ple concept )orrowed fro! the all fa!iliar co!puter key)oard. e all use it all the ti!e. If we want a dollar

sign" we hold the 4-I8T )utton and click the nu!)er A@=. If we want to sa#e a docu!ent we hold the 5+TI5 )utton or

CT3/ )utton and click A4=. This ena)les us to use the sa!e keys we already ha#e in our standard key)oard and add !uch

additional functionality without re,uiring !uch !ore key)oard real(estate or !any additional keys.

Both Broadway Big Band and Broadway Big Band – Kontakt Edition are using this concept of key(switch co!)inations to

achie#e the sa!e goal. E6tended functionality fro! as little as possi)le key)oard real(estate" and keeping is as si!ple and

intuiti#e as possi)le. In Broadway Big Band there are @ such keys: $ &%" $2&%" $&% and $B&%.

$&% and $B&% are strictly A4-I8T= keys" and $C&% and $2&% dou)le as Te!porary articulation key(switches and as 5+TI5

keysH $C&% is )oth A5+TI5(KE01= and A4TCCTI44I*5=" and $2&% is )oth A5+TI5(KE0;= and A4TCCT5=.

hen holding any of these shift or option keys while pressing other articulation keys" the co!)ination offers a #ariation

on that original articulation. 8or e6a!ple: $8&% is A8all down=. +ressing $8&% while holding A5+TI5(KE0;= $2&%" will result

with a A8all 9p $doit%= articulation. 4a!e $8&% press while A5+TI5(KE01= $C&% is held" and the co!)ination will result in

playing a A'lide 2own= articulation. -old )oth $C&% and $2&% and press the sa!e $8&% key(switch" and the co!)ination

will result in playing a A8all 2own( 4low= articulation.

3epetition and the A#irtual sustain pedal=:

The $C&% Te!porary key(switch is the A?irtual 4ustain +edal=. If you ha#e an actual sustain pedal you can use it instead or

in addition. It is there to ena)le two things: 3epetition $legato into the sa!e note%" and auto!atically keeping a phrase

played in legato" when it is too difficult to keep o#erlapping notes. This is especially rele#ant in case of #ery fast !usical

phrases or when there are wide gaps )etween notes" that prohi)it a continuous o#erlapping legato playing.

detailed list of articulations and their respecti#e #irtual key(switches is a#aila)le in chapter J

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hapter : Editing Key(4witch actions in the se,uencer

hile it is possi)le to play the entire range of key switches in real(ti!e" it is also possi)le to change" add" or re!o#e

#irtual key(switch e#ents after the fact. To do this you !ust do the following:

4elect the *I2I track you want to edit #irtual key(switch e#ents in.

5pen the piano(roll editor for the selected *I2I track in your se,uencer. Key(switch e#ents will appear as note e#ents

)elow the playa)le range of the instru!ent.

Key(switch e#ents for passi#e #irtual key(switching should appear either slightly )efore the notes they affect or e6actly

aligned with the!.

Key(switch e#ents for acti#e key(switching function !uch like note e#ents" so they should )e placed where you want the

acti#e key(switching to occur since acti#e key(switches affect currently played notes. They are placed after the

)eginning point of the note they affect and )efore its ending point.

The ending point of a note !ay )e e6tended $#s. the ending point appearing on the ti!eline% )y using the sustain pedal

$or the #irtual sustain pedal key(switch.% In such a case" the e6tended duration of the note and not the shorter

appearance on the ti!eline" is the one to consider.

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hapter G – The Interface

The instru!ents in Broadway Big Band – Kontakt Edition ha#e up to @ ta)s each. ot all instru!ents ha#e all @" )ut you

should )e fa!iliar with these ta)s and understand how to use the!.

?irtual Key(4witch *onitor:

fter reading Chapter @" hopefully this one is rather self e6planatory for the !ost part.

-owe#er" here is an e6planation of )oth the o)#ious and the so!ewhat less o)#ious parts.

The Key 4witch *onitor offers a #isual representation of the !ultidi!ensional playing state and any acti#e te!porary

articulation. It is possi)le to press the playing state )uttons with the !ouse" and change articulations that way" howe#er"

that would not )e recorded into your !idi se,uencer" so it is always )etter to use your !idi key)oard for all key(

switching. hen a certain playing state is acti#e" the correlating )utton lights up $as seen in the a)o#e scree(shot%.

hen a te!porary articulation is acti#e" the na!e of the te!porary articulation appears in the ATe!porary

rticulations= )o6 at the )otto! right.

?elocity !ode switching:

5n the left side" you !ay notice a colu!n titled A?elocity= with two options: AK)d L *idi CC= and A*idi CC 5nly=.

Those are key(switcha)le fro! the !idi key)oard using $B(1% for the AK)d L *idi CC= playing state" and $(1% for the A*idiCC 5nly= playing state option. *ost of the instru!ents in the Broadway Big Band – Kontakt Edition offer this option. By

default" Broadway Big Band instru!ents respond to Key)oard #elocity" and yet while holding a sustained note" the

instru!ent also responds to the !odulation wheel $or any other !idi controller you choose to assign to it% creating

s!ooth !odulation(wheel dri#en crescendos and decrescendos.

9sing the new feature" you can click the $(1% key(switch and going into A*idi CC 5nly= !ode" the instru!ent will )ypass

and ignore the key)oard #elocity and will only consider the !odulation wheel $or any other *idi CC of your choice% in

deciding the #elocity of the notes played. Clicking the $B(1% key(switch will )ring you )ack to the default state in which

)oth the !idi key)oard #elocity and the !idi controller are considered.

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lternates ta):

This ta) is !ostly for ad#anced users who want ulti!ate control o#er the cycles of alternate sa!ples.

That said" you should always use this ta) when !i6ing !ultiple !icrophone setups of the sa!e instru!ents that need to

re!ain in sync with one another. fter loading a second !icrophone setup" click the A3eset ycles= )utton on )oth

#ersions of the instru!ent $without playing any notes in the !iddle of the process%. The alternate cycles of the two

#ersions will then )e aligned.

ow for the !ore ad#anced uses of this ta):

Broadway Big Band has a uni,ue patent(pending way of handling alternate sa!ples$K 73ound ro)in7 %.

lternate sa!ples are !ultiple recorded #ersions of the sa!e note of the sa!e articulation and sa!e dyna!ic le#el"

which are intended to )e played consecuti#ely one after the other in case of repeating notes" in order to a#oid the

7*achine(gun effect7 which is the #ery uncon#incing sound of the sa!e e6act sa!ple played repeatedly. *ost of the

!odern #irtual sa!plers support that feature" howe#er the way in which it is i!ple!ented is radically different.

*ost sa!plers offer a single cycle for alternate(sa!ples $K 73ound ro)in7 % so that each note played !o#es the cycle

one step forward. This !ethod presents two !ain pro)le!s.

The nu!)er of alternate takes !ust )e consistent throughout the entire instru!ent" whether it !akes sense or not.

In case of for e6a!ple two alternate takes" when you play a trill" )ecause of the way it is !anaged" the entire idea of

alternate sa!ples is rendered useless" as each ti!e each of the trilling notes is played" it triggers the sa!e take of each

of the!.

The way it is done in Broadway Big Band is funda!entally different. There are indi#idual and separate cycles of alternate

sa!ples for each note of each articulation in each dyna!ic le#el" allowing inconsistency of the nu!)er of alternate

sa!ples )etween the different notes articulations and dyna!ic le#els" and also" as a result" the script !o#es each cycle

separately" only when the sa!e note of the sa!e articulation and dyna!ic le#el is repeated. The result is a co!pletely

life(like perfor!ance which sounds slightly different e#ery ti!e you play itM Nust like what you get when using real li#e

!usicians on a recording session.

This is #ery refreshingH -owe#er" so!eti!es you will want to lock perfor!ance" Dust like you do when recording a good

take of a li#e !usician. This is what the Alternates= ta) is for. In this ta) there are ;& snapshot )uttons. hen you click

A4tore= and then click one of the ;& snapshot )uttons" a snapshot of all alternate cycles of the rele#ant instru!ent is

stored in that )utton.

ow can )e recalled at any ti!e" )y either clicking the )utton again at any ti!e" or $and this is the !ore useful and

practical way%" in order to auto!atically recall an alternate cycle snapshot for an instru!ent" go to your !idi se,uencers

piano(roll editor or any other editing window that allows step(ti!e entries and add a short note at $C(1% " Dust like you

would ha#e added a key switch right )efore a note" gi#ing it the #elocity #alue identical to the nu!)er on the snapshot

)utton you want to auto!atically recall. 8or e6a!ple" if you want to recall snapshot nu!)er " add a short note in the

se,uencer at $C(1% with a #elocity #alue of .

To learn !ore a)out editing key(switches in the se,uencers piano roll please refer to chapter .

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2u!p < 3eload – ta):

4o!e of the !ore 3* intensi#e instru!ents in the Broadway Big Band collection" now offer a A2u!p < 3eload= ta).

/ets say theres Dust no way youre using plunger effects or chro!atic runs in the song youre currently working on. hy

ha#e all these sa!ples loaded and take up 3* when you dont use the!F

ow you can go to the 2u!p < 3eload ta)" select the articulations you do not use" and click the A2u!p<3eload selected

articulations= )utton. The unneeded articulations will )e purged fro! the co!puters !e!ory" and when you sa#e the

song you will sa#e it like that" so ne6t ti!e you load that song it will auto!atically load with only the rele#antarticulations.

Best of all" if ne6t week you get )ack to that sa!e song and decide to change your !ind" its not too late.

Nust select the articulation you want to use again" and click the A2u!p<3eload selected articulation= )utton. The

articulation will )e loaded )ack to the instru!ent.

5ptions – ta):

In the options ta) you can change the !idi controllers used. The default controllers are the !odulation wheel $1% and the

#olu!e pedal $G%. 0ou can change those )y either changing the nu!eric #alue" or use the Alearn= function" )y clicking the

Alearn= )utton and then !o#e the !idi controller you want to use.

There is also a A/egacy *ode= )utton. It was put there to help porting proDects fro! the -/ion powered #ersion" so that

they would play correctly in spite of so!e of the progra!ing changes. A/egacy *ode= is not yet fully functional" and we

suggest you do not rely on it for now.

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hapter C – 2ru!s

There are a few things you should know a)out the dru! kits in Broadway Big Band" if you want to get the !ost out of

the!. These are Dust a few concepts that arent o)#ious" and that are not found in !ost other sa!pled dru!s.

Concept:

The dru!s in Broadway Big Band were recorded with a no(co!pro!ise attitude. hile the !ost i!portant secret

weapon was the dru!!er $Ti! ewton%" it see!s that all the ele!ents ca!e together in a perfect way. The roo!" the

old ea# )oard" and the a!aiing recording engineer. e recorded it all with ;> !icrophones and onto !ulti(track

channels at ;@)it<1J;Kh. +ro)le! was that we ended up with so !uch !ulti(track content" that the scope of a #irtual

instru!ent that 2ru! kits are not its !ain focus prohi)ited us fro! including it all. Instead" we decided to do a Asweet(

spot= stereo !i6(down and a ;@)it<@@.1Kh down(con#ersion" to reduce it to a !ore !anagea)le sie.

*ulti(channel output

That said" for !i6ing con#enience" we offer A$!ulti%= #ersions of the kits in which the different parts of the kit are sent

to > separate stereophonic outputs" starting at Astereo;=.

The kits are separated to:

• Kick dru!

• 4nare dru!

• -i(-at

• To!s

• Cy!)als

In order to take ad#antage of the !ulti(output #ersions of the dru! kits in the stand(alone !ode" you will ha#e to add

!ore output channels in Kontakt and assign the! to actual outputs. hen used as a plug(in" you will ha#e to use a

#ersion of the plugin that offers enough outputs to acco!!odate the output configuration and ena)le and<or acti#ate

those channels in your host !i6er.

*apping concept:

To acco!!odate the nu!erous articulations and left(hand<right(hand #ariations in an intuiti#e as possi)le !anner" we

decided to adopt a !apping concept that i!itates the shape of physical dru!s" known as A*irroring=.

The idea is si!ple. group of keys is designated to a single dru! or a cy!)al" and the right(hand and left(hand #ersions

of the articulations correlates with the physical instru!ent" so the outer edges of the group of keys would play sa!ples

recorded playing on the outer edges of the instru!ent" and the closer to the center of the group of keys" the closer to

the center of the physical instru!ent it gets. 4ince a !idi key)oard has a pattern of white keys and )lack keys" and the

)lack keys are physically higher than the white keys" this is used to !ake the !apping yet !ore intuiti#e. 8or e6a!ple"

A3i!= sa!ples of snare and to!s are !apped on )lack keys e6clusi#ely" and so as ABell= sa!ples of cy!)als.

To keep the o#erall !apping so!ewhat co!pati)le with industry standards" we placed the kick dru! at the )otto! of

the key)oard" the !any keys designated to the snare" r ight a)o#e that" then the se#eral keys of the closed high(hat"

then open high(hat" floor dru!" rack(to!s" and then the cy!)als. The !ain kit $played with sticks% is taking up of the

keys of the key)oard. The Brush(kit uses a )it less.

Choking Cy!)als:

Cy!)als tend to ha#e #ery long sustaining sound" )oth in real life and when sa!pled. 4o!e Dust fade the! out. e tooka different approach" )ut theres no dou)t that so!eti!e they ha#e to )e stopped. Being that were trying to e!ulate

the real thing" we decided to do what dru!!ers do when they want to stop their cy!)als. Chock the!.

5ne unusual feature of the Broadway Big Band dru! kits" is the a)ility to chock cy!)als" !uch like its done in real life.

5ne of the keys designated to each of the cy!)als $the ones we recorded that articulation for% has a sa!ple !apped to

it" of Dust the chocking of an already sustaining cy!)al. It sounds !uch like a release note and is not really !eant to )e

played )y itself. Nust like with release sa!ples $the ones that are auto!atically played when you release the key that is

playing a sustain note" and add the natural ending of a note and its slight re#er)eration in the roo!%" it is when used in

conte6t of ending a sustained note" that the real !agic happens.

- 10 -



-i(-at as a legato instru!ent:

5ne of the !ost irritating pro)le!s with !ost sa!pled -i(-ats is how fake sounds the transition )etween an open -i(-at

and a closed -i(-at" or how confusing it is e#en when there is a Asto!p= sound" !apped to a different key" and yet how

still fake the o#erall sounds. In reality" there is a huge difference )etween how a Asto!p= sounds" and how an open hi(hat

that had Dust )een hit" sounds when it is closed. E#en !ore i!portantly" !ost dru!!ers dont Dust close the high(hat )ut

rather also hit it again once its closed. Being that we were already dealing with e6tensi#e legato sa!pling" we decided to

figure out a )etter way to tackle that issue" and decided to treat the -i(-at as a legato instru!ent. e recorded all the

transitions $with and without hits" different speeds" etc...% and progra!!ed it to respond and acti#ate the #arious legato

transitions )ased on ti!ing.

That is why you can see a little )o6 on the dru!(kit interfaces" in which you can define how long after you hit the -i(-at

when its open" Broadway Big Band will consider hitting a closed -i(-at articulation as a related note" to )e played as a

legato inter#al. The default is ;>&& !illiseconds" and it should work for !ost scenarios" )ut the control is there in case

you want to !ake any adDust!ents.

hapter J – 4tru!!ing

The BanDo and the 9kulele instru!ents in the Broadway Big Band collection now offer a stru!!ing script that ena)les

you to hold the notes that you want to !ake a chord with" and then stru! up and down in #arious articulation types"

using acti#e key(switches. This stru!!ing !ode can )e acti#ated or deacti#ated #ia key(switching. ith stru!!ing

turned off" you can play all of the notes and articulations freely" and the script will auto!atically alternate )etween up(

stroke and down(stroke playing" unless youre playing a chord" in which case the plucking direction will re!ain the sa!e

throughout the playing of that chord.

5n the Key(switch !onitor ta) of these instru!ent you can also adDust the !ini!u! and !a6i!u! duration of theauto!atic stru!!ing. In stru!!ing !ode" the script auto!atically stru!s faster to louder #elocities and slower to

softer #elocities.

detailed list of key(switches can )e found in chapter 11.

- 11 -



hapter 1&: hoosing and loading *icrophone setups

Introduction:

In !usic production" using li#e session players in a recording studio you would typically try to choose your !icrophones"

prea!plifiers and !icrophone positions )ased on the genre and style of your production. e feel you should ha#e this

kind of choice when working with sa!ples as well.

s a result" aside fro! the dru!(sets all of the instru!ents included in Broadway Big Band" were recorded and deli#eredwith se#eral different !icrophones applying #arious recoding styles and techni,ues" capturing each of the single(note

perfor!ances in !ultiple different ways. ow you can choose and load the !icrophone selection that )est feet you

current production.

*icrophone setups for Tru!pet:

*ic1: Close *ic

/arge capsule condenser tu)e !icrophone $1@J%.

This !icrophone setup is relati#ely close and offers a fairly dry and focused sound" )ut it is still far enough to let the

instru!ent )reathe and the sound to fully de#elop" allowing so!e of the roo! reflections to )e included" adding

)rightness and sie.

*ic;: Tight !ic

$4!all Caplsule%

This !icrophone setup is #ery close to the instru!ent" and it deli#ers a super dry sound with al!ost no roo! reflections.

Creates a #ery dry and 7personal7 feel. lso great with the !uted instru!ents for a supper(cool Day sound.

*ic: /oose !ic

/arge capsule condenser !icrophone $9G%

This *icrophone setup is still fairly close to the instru!ent" )ut si!ulates the studio !icing style typical for a large

ense!)le such as a large )ig()and. 9sing a #intage tu)e prea!plifier" it deli#ers war! and rounded yet powerful sound"

and due to the relati#e distance fro! the instru!ent" it includes significantly !ore roo! reflections than the two close

!icrophone setups. This setup deli#ers a 7)igger7 sound i!age than the close !icrophone setups" as the sound tends to

acoustically )uildup in the air" and with the added roo! reflections you get a 78atter7 sound. This *icrophone setup is

#ery useful especially for Da(oriented pieces" and if you want to 7glue7 the instru!ents together" !aking the! sound asif they were recorded as an ense!)le" sharing !icrophones in a single roo!.

This is also a good option if you want a soloist sound that needs to )e incorporated in a sy!phonic arrange!ent.

*ic @: 3oo! *ic


+ositioned high a)o#e the instru!ent" near the high ceiling of the studio" this !icrophone setup includes a lot of roo!

reflections" yet it is still ai!ed at the instru!ent and not fro! #ery far away so you still get a direct signal fro! the

instru!ent" )ut it is well()lended with the roo! reflections. The height of the !icrophone helps it in ignoring the

acoustical go)os that are altering the acoustical characteristics of the other !icrophones" letting the entire large li#e(

roo! to )e heard. This *icrophone setup can )e used as a natural re#er)" when co!)ined with any of the other

!icrophone setups" or could )e used )y itself when a softer wide(and(far sound is desired. This is also #ery useful if you

want to include any of the Broadway Big Band instru!ents in a sy!phonic arrange!ent" and !ake it )lend with the rest

of the sy!phonic ense!)le.

*IC > – 3i))on *IC

s!all 3i))on !icrophone in tight positioning.

?ery #i#id and natural sound. l!ost no roo! reflections. 'reat for 3OB as well as for hot and dry /atin )rass section

sound. hen co!)ined with !icrophone @" you get the aweso!e typical /atin sound.

*IC – 7+ *IC7

This is a popular dyna!ic !icrophone that is often used in li#e(show situations and will )lend #ery well with li#e

instru!ents when using Broadway Big )and in li#e(shows where a si!ilar !icrophone is )eing used to pick(up the other

- 12 -



instru!ents of the ense!)le.

*icrophone setups for Tro!)one:

*ic1: Close *ic

s!all 3i))on !icrophone" setup is relati#ely close and offers a fairly dry and focused sound" )ut it is still far enough to

let the instru!ent )reathe and the sound to fully de#elop" allowing so!e of the roo! reflections to )e included" adding

)rightness and sie.

*ic;: Tight !ic

$4!all Caplsule%


Creates a #ery dry and 7personal7 feel. lso great with the !uted instru!ents for a supper(cool Day sound.

*ic: /oose !ic






acoustically )uildup in the air" and with the added roo! reflections you get a 78atter7 sound. This *icrophone setup is#ery useful especially for Da(oriented pieces" and if you want to 7glue7 the instru!ents together" !aking the! sound as

if they were recorded as an ense!)le" sharing !icrophones in a single roo!.


*ic @: 3oo! *ic










*icrophone setups for 4oprano 4a6ophone:

*ic1: Close *ic

/arge capsule condenser tu)e !icrophone $1@J%.

This !icrophone setup is relati#ely close and offers a fairly dry and focused sound" )ut it is still far enough to let the


)rightness and sie.

*ic;: Tight !ic

/arge capsule condenser !icrophone $@1@%.

This !icrophone setup is #ery close to the instru!ent" and it deli#ers a super dry sound with al!ost no roo! reflections.It gi#es the sa6ophones a !odern poppy sound suita)le !ostly for pop(solos and<or sli! focused sound of a pop(

section.

*ic: /oose !ic






- 13 -




#ery useful especially for Da(oriented pieces" and if you want to 7glue7 the instru!ents together" !aking the! sound as



*ic @: 3oo! *ic










*icrophone setups for lto 4a6ophone:

*icrophones 1(@ the sa!e as with the 4oprano sa6ophone.

*IC > – 7+ *IC7This is a popular dyna!ic !icrophone that is often used in li#e(show situations and will )lend #ery well with li#e

instru!ents when using Broadway Big )and in li#e(shows where a si!ilar !icrophone is )eing used to pick(up the other

instru!ents of the ense!)le.

*icrophone setups for Tenor 4a6ophone:

4a!e as with lto 4a6ophone.

*icrophone setups for Baritone 4a6ophone:

The Baritone sa6ophone has @ !icrophone setups to choose fro! and<or co!)ine.

*ic1: Close *ic

/arge capsule condenser tu)e !icrophone $1@J%.This !icrophone setup is relati#ely close and offers a fairly dry and focused sound" )ut it is still far enough to let the


)rightness and sie.

This !icrophone setup is intended for 8unk" 4alsa" and any other situation where you need a powerful" #i#id and )right

sound.

*ic;: Tight !ic

/arge capsule condenser !icrophone $@1@%.


It lets the )aritone sa6ophone ha#e a #ery aggressi#e 7in your face7 sound" which will easily cut through the !i6.

*ic: /oose !ic /arge capsule condenser !icrophone $9G%






#ery useful especially for Da(oriented pieces" and if you want to 7glue7 the instru!ents together" !aking the! sound as



- 14 -



*ic @: 3oo! *ic










*icrophone setups for 9pright Bass:

The 9pright Bass is different than !ost of the other instru!ents of the Broadway Big Band" as one of the !ost

reco!!ended setups is a co!)ination of two !icrophone positions" and also )ecause one of its !icrophone positions is

actually a pickup.

*icrophone 1:

This large diaphrag! condenser !icrophone $9G% is positioned near the neck of the Bass. This gi#es this !icrophone

position an edge" deli#ering powerful attack without o#erloading the low fre,uencies. In order to get a 7fatter7 sound it ishighly reco!!ended to !i6 this !icrophone setup with the *ic( setup" as they were recorded with the intention of

)eing !i6ed together.

*icrophone ;:

This !icrophone setup is si!ply the on)oard pickup of the upright )ass which was recorded. othing fancy" )ut if you

want a genuine pickup sound this !icrophone setup is for you.

*icrophone :

This large diaphrag! condenser !icrophone $9G% is positioned near the sounding )oard of the upright )ass and uses a

#intage tu)e pre(a!plifier" so it is loaded with healthy phat low fre,uencies. It is great )y itself for a Day war! sound

without too !uch e!phasis on the attack of the plunking. -owe#er" as !entioned a)o#e" it is highly reco!!ended to

co!)ine this !icrophone setup with the 7*ic17 setup for an e6tra punch.

*icrophone @:

This large diaphrag! tu)e condenser !icrophone $1@J% is positioned in front of the center of the upright )ass as a loose

!ic" using a #intage tu)e pre(a!plifier. It is suita)le in those cases where other !icrophone setups feel o#erwhel!ingly

!assi#e and close. s it is not as close to the instru!ent it dose not ha#e as !uch sie and punch as !ic1 and !ic" )ut

it has its own ,ualities. The e6tra distance fro! the instru!ent lets the sound de#elop and )reathe. If you want to take

ad#antage of these ad#antages without sacrificing low fre,uencies" si!ply add !ore /ow fre,uencies )y EP(ing it. It is

also possi)le to co!)ine this !icrophone setup with !ic for e6tra )oost on the low fre,uencies $no phasing issues are

going to )e presented )y it% )ut as )oth !ic and !ic1 are close !icrophone positions which are !eant to )e co!)ined

with each other for a co!)ined close(!icing setup" co!)ining !ic@ with any of the! $1 or % !ay not pro#ide you with

the uni,ue ad#antages of either close !icing or loose !icing" howe#er" you !ay e6peri!ent with the #arious

co!)inations and create Dust the sound you want for the specific production you are working onM

*icrophone setups for BanDo < 9kulele:

There are two stereophonic !icrophone setups for )oth the BanDo and the 9kulele.

The differences are in the o#er(all sound as a result of !icrophone angles and stereo i!aging. Two ri))on !icrophones

and two condenser !icrophones were used.

4i!ply e6peri!ent with )oth and use the one the !ost suits your current production.

*icrophone setups for /atin +ercussions:

ll of the /atin percussion instru!ents were recorded roughly the sa!e way" so this following description is appropriate

- 15 -



for all of the! $Congas" Bongos" Ti!)alitos" and the #arious percussion toys%. There are stereophonic !icrophone

setups that can )e used indi#idually or in co!)ination with any or all of the others.

*icrophone 4etup 1:

7Close *icrophone 4etup7.

This stereophonic pair of dyna!ic !icrophones $4*>G% si!ulates a li#e perfor!ance situation" and is also good when you

want the percussion to easily cut through the !i6 and sound close and crisp. The stereo i!age is super(wide $to the

e6tent that so!eti!es an instru!ent will only )e heard on one side of the panora!a with #irtually no sound )leed on

the other. 0ou can always narrow the stereo i!age down a notch if you want to do so" )y adDusting the + kno)s in

your !i6er" or )y adding the 73oo! !icrophone setup7 $*icrophone(4etup %.

*icrophone 4etup ;:

7/oose *icrophone 4etup7.

This stereophonic pair of large diaphrag! condenser !icrophones $C@1@% was positioned )ehind the perfor!er" and

hence capture a rich roo! reflection content in addition to a wide stereo i!age of the instru!ents the!sel#es. 0ou can

always narrow the stereo i!age down a notch if you want to do so" )y adDusting the + kno)s in your !i6er" and<or )y

adding 7*icrophone 4etup 7 which has a narrower stereo i!age. This !icrophone setup can )e used )y itself to )lend

s!oothly in the !i6 $or for a high(end sounding percussion solo part%" or in conDunction with 7*icrophone 4etup 17 for

e6tra punch. -owe#er" once again" co!)ining all three stereophonic !icrophone setups is reco!!ended" as it pro#ides

!a6i!u! sonic control when !i6ing.

*icrophone 4etup :

73oo! *icrophone 4etup7

This stereophonic pair of large diaphrag! condenser !icrophones $9G% were positioned high a)o#e and )ehind the

percussionist" facing the large li#e roo! and capturing its reflections. In order to pre#ent phasing issues and a#oid too

long of a distance fro! the instru!ents" they were setup in an Q shape at the center" and hence pro#ide a narrower" yet

#ery natural stereo i!age. This !icrophone setup can )e used as a natural re#er)" or to si!ulate a situation of

!icrophone()leed. It can also )e used )y itself if the production calls for long !icing of the percussion.

*icrophone setups for Qylophone

The Qylophone was recorded with stereo pairs of !icrophones that can )e all !i6ed together in #arious ways to

acco!!odate your !i6 for whate#er genre youre working in. -owe#er" this 6ylophone is not intended for sy!phonic

applications )ut rather for anything and e#erything other than that.

*icrophone setup 1:

stereo pair of large diaphrag! condenser !icrophones positioned at the top of the 6ylophone" capturing the !ost

punch and e!phasies the attack and detail of the sticks hitting and ru))ing the wooden instru!ent. This stereophonic

!icrophone setup deli#ers a )right sound with !uch detail" especially in the high fre,uencies.

*icrophone 4etup ;:

stereo pair of ri))on !icrophones" using a #intage tu)e pre(a!plifier and positioned under the 6ylophone. This

stereophonic !icrophone setup deli#ers the 7!eat7 of the acoustical tone of the instru!ent" and it is usually a #ery good

idea to use it in conDunction with 7!icrophone setup 17 or in so!e cases Dust )y itself. E#en though it is not as physicallyclose to the surface of the 6ylophone keys" it still presents a nice punch and attack" )ut also a war!er" fuller" and !ore

pleasing tone.

The reco!!ended co!)ination for close(!icing is the co!)ination of 7!icrophone setup 17 and 7!icrophone setup ;7.

*icrophone 4etup :

73oo!(!ic7. This 4tereophonic pair of !icrophones captures the 6ylophone fro! a distance" yet without sacrificing the

stereo width and spread" due to the special way they were positioned co!pared to the acoustical go)os that were used.

This stereophonic !icrophone setup can )e used )y itself for long(!icing applications" or in conDunction with any one of

the other !icrophone setups or with )oth.

- 16 -



hapter 1; – rticulations – detailed lists of articulations and key(switches of all instru!ents:

In the following pages youll find ta)les listing all of the articulations and key(switches of all of the instru!ents in the

collection. 8or the purpose of clarity" well )e using shortened language to descri)e key(switch )eha#iors:

• A+assi#e 4tate(change= is a key(switch that changes the playing state of an instru!ent for all notes to follow it.

• Acti#e 4tate( hange= is a key(switch that changes the playing state of an instru!ent" affecting an already

presently played note.

• A+assi#e Te!p= is a key(switch that triggers a te!porary articulation for notes to )e played while its held down.

• Acti#e Te!p= is an key(switch that triggers a te!porary articulation for an already presently played note.

• A+assi#e < cti#e Te!p= is passi#e if pressed )efore playing a note. cti#e if pressed to affect an ongoing note.

• ABi(2irectional cti#e= is a key(switch that triggers a te!porary articulation for an already played note )oth

when pressed and when )eing released. $only applica)le to the Alternate 8ingering= articulation%.

lso" we e!ploy the following word coding:

•A-old= refers to 4-I8T and 5+TI5 keys that need to )e held while pressing the !ain articulation key(switch.hen it says A-old= press and hold that key(switch first.

• A+ress= refers to a te!porary articulation key(switch that needs to )e pressed and held while playing the notes

that are to )e affected )y it.

• A lick= refers to )oth acti#e te!porary articulations such as A8all fro! sustain=" and all playing(state keys" and it

!eans that once you click that key(switch" there is no need to keep it pressed down" and any 4-I8T and<or

5+TI5 keys held for it can )e released as well.

- 17 -



Alto-Sax-1

Articulation RequiredPlaying States

Key-switches Behavior Comments

Sustain Prog Vib Growl Off (E0) Click(C1) Passive State-change

Switch to Sustain ProgVib

Growl Off (E0) Hol(A) ! Click(C1) "ctive State-change

Sustain #ee$ Vib Growl Off (E0) Click(!1) Passive State-change

Switch to Sustain #ee$Vib

Growl Off (E0) Hol(A) ! Click(!1) "ctive State-change

Sustain with Growl Click(") "ctive State-change

Growl Off Click(#) "ctive State-change

%egato Pla& notes in an overla$$ing fashion(legato) to trigger the articulation'

Staccato Press(!$) Passive e$

Staccatissio Press(C$) Passive e$%egato to short Press(C$) or (!$) Passive e$ Press an hol ke&-switch when a note

is $la&e* then $la& a secon note inan overla$$ing fashion (legato) totrigger the articulation'

+all own fast Growl Off (E0) Press("$) Passive , "ctive e$

+all own fast w growl Growl On (+0) Press("$) Passive , "ctive e$

Glie own Growl Off (E0) Hol(C$) ! Press("$) Passive , "ctive e$

+all own slow Hol(C$)!(!$) ! Press("$) Passive , "ctive e$

+all u$ Hol(!$) ! Press("$) Passive , "ctive e$

+all u$ slow Hol(B) ! Press("$) Passive , "ctive e$

Sear into sustain Press(!) Passive e$

Slow sear into sustain Hol(C$)%(!$) ! Press(!) Passive e$

Sear legato Press(!) Passive e$ Hol ke&-switch while a note is $la&e*then $la& a secon note in anoverla$$ing fashion (legato) to triggerthe articulation'

Sforano Press(&$) Passive e$

.arcato ! #irt& Vibrato Press(&) orHol(A)!Press(&$)

Passive , "ctive e$

Grace /ote Press(A$) Passive e$

- 18 -



Trumpet-1

Articulation Required PlayingStates


Sustain Prog Vib Plunger Off (E)+lutter Off (E0)

Click (C1) Passive State-change

Switch to Sustain Prog Vib Plunger Off (E)+lutter Off (E0)

Hol (A) ! Click (C1) "ctive State-change

Sustain #ee$ Vib Plunger Off (E)+lutter Off (E0)

Click (!1) Passive State-change

Switch to Sustain #ee$ Vib Plunger Off (E)+lutter Off (E0)

Hol (A) ! Click (!1) "ctive State-change

Sustain /o Vib Plunger Off (E)+lutter Off (E0)

Hol (B)!Click (C1) Passive State-change

Switch to Sustain /o Vib Plunger Off (E)+lutter Off (E0)

Hol (A) ! Hol (B)!Click (C1) "ctive State-change

%egato (Prog Vib) Plunger Off (E) Pla& notes in an

overla$$ing fashion(legato) to trigger thearticulation'

Staccato Plunger Off (E) Press (!$) Passive e$

Staccatissio Plunger Off (E) Press (C$) Passive e$

%egato to short Plunger Off (E) Press (C$) or (!$) Passive e$ Press an hol ke&-switch when a note is$la&e* then $la& asecon note in anoverla$$ing fashion(legato) to trigger thearticulation'

+all own fast +lutter Off (E0) Hol (C$) ! Press ("$) Passive , "ctive e$

+all own slow Press ("$) Passive , "ctive e$

+all own ver& slow Hol (C$) ! Hol (!$) ! Press ("$) Passive , "ctive e$

+all u$ (oit) Hol (!$) ! Press ("$) Passive , "ctive e$

+all u$ slow Hol (B) ! Press ("$) Passive , "ctive e$

Sear into sustain Press (!) Passive e$

1i$ u$ into short note Hol (!$) ! Press (!) Passive e$

1i$ own to sustain Hol (C$) ! Press (!) Passive e$

1i$ u$ to sustain no vib +lutter Off (E0) Hol (!$) ! Hol (C$) ! Press (!) Passive e$

1i$ u$ to sustain ee$ vib +lutter Off (E0) Hol (!$) ! Hol (C$) ! Press (!) Passive e$

Sear own an back Hol (A) ! Press (!) Passive e$

Sf ! Cresc - +ast Hol (C$) ! Press (&$) Passive e$

Sf ! Cresc 2 Slow Hol (!$) ! Press (&$) Passive e$

.arccato ! .il vibrato Hol (A) ! Press (&$) Passive e$

Shake 2 +ast Hol (A) ! Press (A$) Passive e$

Shake 2 Slow Hol (A) ! Hol (B) ! Press (A$) Passive e$

Grace /ote Press (A$) Passive e$

- 19 -





Chroatic 1uns Press (!$1) Passive e$ "ffects the note-transition st&le when$la&ing legato(overla$$ing notes)

1i$ Portaento Press (C$1) Passive e$ "ffects the note-

transition st&le when$la&ing legato(overla$$ing notes)

1i$ Portaento to short Hol (!$) ! Press (C$1) Passive e$ "ffects the note-transition st&le when$la&ing legato(overla$$ing notes)

+lutter sustains Click (") "ctive State-change

Growl sustains Hol (A) ! Click (") "ctive State-change

+lutter,Growl Off Click (#) "ctive State-change

+lutter Har attack +lutter On (+0) Press (&) Passive e$

+all own (fast) with f lutter +lutter On (+0) Press ("$) Passive , "ctive e$

1i$ u$ to sustain with flutter +lutter On (+0) Hol (!$) ! Hol (C$) ! Press (!) Passive e$

Plunger On Click ("1) Passive State-change

Plunger Off Click (#1) Passive State-change

Plunger Pattern Plunger On (+)+lutter Off (E0)


Plunger Pattern 3 Plunger On (+)+lutter Off (E0)





Hol (B)!Click (!1) Passive State-change

Plunger Pattern w, +lutter Plunger On (+)+lutter On (+0)


Plunger Pattern 3 w, +lutter Plunger On (+)+lutter On (+0)





Hol (B)!Click (!1) Passive State-change

Staccato close $lunger Plunger On (+) Press (C$) Passive e$

Staccato o$en $lunger Plunger On (+) Press (!$) Passive e$

- 20 -



Tenor-Sax-1



Sustain $rog vib Growl Off (E0) Click (C1) +assi#e 4tate(change Hol own the "0 to activel&switch to this vibrato fro analrea& $la&e sa$le

Switch to sustain $rog vib Growl Off (E0) Hol (A)!Click (C1) cti#e 4tate(change

Sustain /o Vib Growl Off (E0) Hol (B) ! Click (C1) +assi#e 4tate(change Hol own the "0 to activel&switch to this vibrato fro analrea& $la&e sa$le

Switch to sustain no vib Growl Off (E0) Hol (A)!(B) ! Click (C1) cti#e 4tate(change

Sustain Strong Vib Hol (A) ! Click (A$) +assi#e 4tate(change

%egato ($rog vib) Pla& notes in an overla$$ingfashion (legato) to trigger thearticulation'

Staccatissio Press (C$) +assi#e Te!p

Staccato Press (!$) +assi#e Te!p

%egato to short Press (C$) or (!$) +assi#e Te!p Press an hol ke&-switchwhen a note is $la&e* then$la& a secon note in anoverla$$ing fashion (legato)to trigger the articulation'

Sear into note Growl Off (E0) Press (!) +assi#e Te!p

Sear w, Growl Growl On (+0) Press (!) +assi#e Te!p

Slow sear into note Hol (!$) ! Hol (C$) ! Press (!) +assi#e Te!p

1i$ u$ into short note Hol (!$) ! Press (!) +assi#e Te!p

Growl Sustain Click (") cti#e 4tate(change

Growl Off Click (#) cti#e 4tate(change

+all #own +ast Growl Off (E0) Press ("$) +assi#e < cti#e

Te!p

+all #own +ast w, Growl Growl On (+0) Press ("$) +assi#e < cti#e

Te!p

Glie #own Growl Off (E0) Hol (C$) ! Press ("$) +assi#e < cti#e

Te!p

Gliw #own w, Growl Growl On (+0) Hol (C$) ! Press ("$) +assi#e < cti#e

Te!p

+all #own Slow Hol (C$) ! Hol (!$) ! Press("$)

+assi#e < cti#e

Te!p

+all 6$ Hol (!$) ! Press ("$) +assi#e < cti#e

Te!p

.arccato ! #irt& Vibrato Press (&) orHol (A) ! Press (&$)

+assi#e < cti#e

Te!p

.arccato ! .il Vibrato Hol (B) ! Press (&$) +assi#e Te!p

.arccato ! /o Vibrato Hol (C$) !Press (!$) +assi#e Te!p

Sforano Press (&$) +assi#e Te!p

Sforano ! Cresc +ast Hol (C$) ! Press (&$) +assi#e Te!p

- 21 -



Sforano ! Cresc Slow Hol (!$) ! Press (&$) +assi#e Te!p

"lternate +ingering Press (C$1)

Cla$ +7 Hol (C$) ! Hol (!$) ! Press(&$)

+assi#e Te!p

Alto-Sax-2

Articulation RequiredPlayingStates


Sustain Prog Vib

Staccatissio Press (C$) or (!$) +assi#e Te!p

+all #own +ast Press ("$) +assi#e < cti#e Te!p

Tenor-Sax-2



Sustain #ee$ Vibrato Click (C1) Passive State-change

Sustain /o Vibrato Hol (B) ! Click (C1) Passive State-change

%egato ($rog vib) Pla& notes in an overla$$ingfashion (legato) to trigger thearticulation'

Staccatissio Press (C$) Passive e$

Staccato Press (!$) Passive e$

%egato to short Press (C$) or (!$) Passive e$

Sear into note Press (!) Passive e$

Slow sear into note Hol (!$) ! Hol (C$) ! Press (!) Passive e$

+all #own +ast Press ("$) Passive , "ctive e$

+all #own Slow Hol (C$) ! Hol (!$) ! Press ("$) Passive , "ctive e$

+all 6$ Hol (!$) ! Press ("$) Passive , "ctive e$

Sforano Press (&$) Passive e$

- 22 -



Bari-Sax



Sustain /o Vib Growl Off(E0)

Click (C1) +assi#e 4tate(

change

Switch to Sustain /o Vib Growl Off(E0)

Hol (A) ! Click (C1) cti#e 4tate(change

Sustain Vib Growl Off(E0)

Click (!1) +assi#e 4tate(

change

Switch to Sustain Vib Growl Off(E0)

Hol (B)!Click (!1) cti#e 4tate(change

%egato no-vib no-vib Pla& notes in an overla$$ingfashion (legato) to trigger thearticulation'

%egato with vibrato ee$-vib

Growl Sustain Click (") cti#e 4tate(change

Growl Off Click (#) cti#e 4tate(change



#ouble staccato Hol (C$) !Press (!$) +assi#e Te!p

ri$le staccato Hol (B) ! Click (A$) +assi#e Te!p

%egato to short Press (C$) or (!$) +assi#e Te!p Press an hol ke&-switchwhen a note is $la&e* then$la& a secon note in anoverla$$ing fashion (legato) to

trigger the articulationSear into sustain Press (!) +assi#e Te!p


Sforano ! Cresc - +ast Hol (C$) ! Press (&$) +assi#e Te!p

Sforano ! Cresc 2 Slow Hol (!$) ! Press (&$) +assi#e Te!p

Grace note sustain Press (A$) +assi#e Te!p

Grace note short in3-u$ Hol (!$) ! Press (A$) +assi#e Te!p

Grace note short a83-u$ Hol (C$) ! Press (A$) +assi#e Te!p

Grace note short in3-own

Hol (C$) ! Hol (!$) ! Press (A$) +assi#e Te!p

#ouble grace note short Hol (C$) ! Press (!) +assi#e Te!p

- 23 -



Trombone



Sustain no vib +lutter Off (E0) Click (C1) +assi#e 4tate(change

Switch to sustain no vib +lutter Off (E0) Hol (A)!Click (C1) cti#e 4tate(change

Sustain vib +lutter Off (E0) Click (!1) +assi#e 4tate(change

Switch to sustain vib +lutter Off (E0) Hol (A)!Click (!1) cti#e 4tate(change

%egato +lutter Off (E0)

+lutter tongue Click (") cti#e 4tate(change

+lutter Off Click (#) cti#e 4tate(change

Sustain har attack +lutter Off (E0) Click (&) +assi#e Te!p

+lutter sustain har attack +lutter On (+0) Click (&) +assi#e Te!p

Gliss Portaento +lutter Off (E0) Click (C$1) +assi#e Te!p

Gliss Portaento w,+lutter

+lutter On (+0) Click (C$1) +assi#e Te!p


Sforano ! Cresc 2 +ast Hol (C$) ! Press (&$) +assi#e Te!p

Sforano ! Cresc 2Slow

Hol (!$) ! Press (&$) +assi#e Te!p

Staccatissio +lutter Off (E0) Press (C$) +assi#e Te!p

Staccato +lutter Off (E0) Press (!$) +assi#e Te!p

+lutter Staccato +lutter On (+0) Press (C$) or (!$) +assi#e Te!p

Sear sustain no vibrato Vibrato /one

(C)Plunger Off (E)

Press (!) +assi#e Te!p

Sear sustain vibrato Vibrato /oral(#)Plunger Off (E)


Shake 2 +ast Hol (A) ! Press (A$) +assi#e Te!p

Glie into staccato Hol (!$) ! Press (!) +assi#e Te!p

1i$ u$ into short note Hol (C$) ! Press (!) +assi#e Te!p

+all #own +ast +lutter Off (E0) Press ("$) +assi#e < cti#e Te!p

+all #own +ast w +lutter +lutter On (+0) Press ("$) +assi#e < cti#e Te!p

Glie #own +lutter Off (E0) Hol (C$) ! Press ("$) +assi#e < cti#e Te!p

+all #own Slow Hol (C$) ! Hol (!$) ! Press ("$) +assi#e < cti#e Te!p

9ow (arccato) Hol (B) ! Press (&$) +assi#e Te!p

Plunger On Click ("1) +assi#e 4tate(change

Plunger Off Click (#1) +assi#e 4tate(change

Plunger Pattern Plunger On (+)+lutter Off (E0)

Click (C1) +assi#e 4tate(change

- 24 -






Hol (B)!Click (C1) +assi#e 4tate(change


Click (!1) +assi#e 4tate(change


Hol (B)!Click (!1) +assi#e 4tate(change

Sear w, $lunger ! flutter Plunger On (+)+lutter Off (E0)


+lutter w, close $lunger Plunger On (+)+lutter On (+0)

- 25 -



Clarinet


Key-switches

Behavior Comments

Sustain $rog vib

%egato

Sear into note Press (!) +assi#e Te!p

Sear legato Press (!) +assi#e Te!p

Glie own Press ("$) +assi#e Te!p

Soprano Sax



Sustain no vib Click (C1) +assi#e 4tate(change

Switch to sustain no vib Hol (A) ! Click (C1) cti#e 4tate(change

Sustain vib Click (!1) +assi#e 4tate(change

Switch to sustain vib Hol (A) ! Click (!1) cti#e 4tate(change

%egato no vib Vibrato /one

%egato vib Vibrato /oral

Sear into note Press (!) +assi#e Te!p



%egato to short Press (C$) or (!$) +assi#e Te!p

1i$ u$ into short note Hol (C$) ! Press (!) +assi#e Te!p

- 26 -



Trumpet-1 armon !ute



Sustain Prog Vib Plunger Off (E)Ste Off (E0) Click (C1) +assi#e 4tate(change

Ste Sustain Plunger Off (E) Click (") +assi#e 4tate(change

Ste Off Click (#) +assi#e 4tate(change

Plunger On Click ("1) +assi#e 4tate(change

Plunger Off Click (#1) +assi#e 4tate(change

9ah 9ah Pattern Plunger On (+) Click (C1) +assi#e 4tate(change

9ah 9ah Pattern 3 Plunger On (+) Hol (B)!Click (C1) +assi#e 4tate(change

9ah 9ah Pattern 4 Plunger On (+) Click (!1) +assi#e 4tate(change

9ah 9ah Pattern 5 (9ahShort) Plunger On (+) Hol (B)!Click (!1) +assi#e 4tate(change

9ah Short Plunger On (+) Press (C$) or (!$) +assi#e Te!p

Staccato close ste Plunger Off (+) Press (C$) +assi#e Te!p

Staccato o$en ste Plunger Off (+) Press (!$) +assi#e Te!p



+all #own Slow Hol (C$) ! Hol (!$) ! Press("$)

+assi#e < cti#e Te!p

+all 6$ (#oit) Hol (!$) ! Press ("$) +assi#e < cti#e Te!p

Trumpet-1 Cup !ute



Sustain /o Vib Click (C1) +assi#e 4tate(change

Sustain #ee$ Vib Click (!1) +assi#e 4tate(change

Staccato Press (C$) or (!$) +assi#e Te!p


+all #own +ast Press ("$) +assi#e < cti#e

Te!p

- 27 -



Trumpet-2



Sustain Prog Vib +lutter Off (E0) +assi#e 4tate(change

+lutter tonguing Click (") cti#e 4tate(change

+lutter Off Click (#) cti#e 4tate(change



+all #own Slow Hol (C$) ! Hol (!$) ! Press ("$) +assi#e < cti#e Te!p

+all 6$ (#oit) Hol (!$) ! Press ("$) +assi#e < cti#e Te!p

Sforano Click (&$) +assi#e Te!p

Sforano ! Cresc 2 +ast Hol (C$) ! Press (&$) +assi#e Te!p

Trumpet-2 armon !ute



Sustain Prog Vib his is the onl& articulation of this instruent'

Trombone Strai"#t !ute



Sustain /o Vib



Trombone Bu$%et !ute



Sustain Vib his is the onl& articulation of this instruent'

- 28 -



&pri"#t-Ba''



4ustain o ?i) -old $B&% L Click $ 1% +assi#e 4tate(change

4ustain 2eep ?i) Click $21% +assi#e 4tate(change

4ustain or!al ?i) Click $ 1% +assi#e 4tate(change

4taccato +ress $2&% +assi#e Te!p

4low gliss down 1 octa#e $fall down% +ress $8&% +assi#e Te!p

4low gliss up 1 octa#e $fall up% -old $2&% L +ress $8&% +assi#e Te!p

4lap +ress $'&% +assi#e Te!p

Bend up into note +ress $2&% +assi#e Te!p

Bend down into note -old $2&% L +ress $2&% +assi#e Te!p

/ong Bend up into note -old $ &%L$2&% L +ress $2&% +assi#e Te!p

(lop#one *ubber



O$en

" scra$e releases Press (!$) Passive e$ 6se this when $la&ing glissanos'

reolo Press (&) Passive e$ 1eleasing a note triggers a new note'

(lop#one +la'ti$

rticulation 3e,uired

+laying

4tates

Key(switches Beha#ior o!!ents

5pen Click $E&% +assi#e 4tate(

change

*uted Click $8&% +assi#e 4tate(

change

5pen te!porary o#erride *uted $8&% +ress $ &% +assi#e Te!p

*uted te!porary o#erride 5pen $E&% +ress $ &% +assi#e Te!p

dd scrape releases +ress $2&% +assi#e Te!p

Tre!olo +ress $'&% +assi#e Te!p 3eleasing a note triggers a new

note.

- 29 -



&%ulele


+laying 4tates


9p 4troke Click $ 1% +assi#e 4tate(

change

2own 4troke Click $21% +assi#e 4tate(change

Te!porary 9p 4troke +ress $8&% +assi#e Te!p

Te!porary 2own 4troke +ress $&% +assi#e Te!p

Enter stru! !ode Click $81% +assi#e 4tate(

change

E6it stru! !ode Click $E1% +assi#e 4tate(

change

4tru! up open Click $8&% cti#e Te!p

4tru! down open Click $&% cti#e Te!p

4tru! up half !uted Click $8&% cti#e Te!p

4tru! down half !uted Click $B&% cti#e Te!p

-alf !uted +ress $2&% +assi#e Te!p

'race note +ress $ 1% +assi#e Te!p

- 30 -



Ban,o


+laying 4tates


4ustain up stroke 4tru! 5ff $E1% Click $ 1% +assi#e 4tate(change

4ustain down stroke 4tru! 5ff $E1% Click $21% +assi#e 4tate(change

Te!porary 9p 4troke 4tru! 5ff $E1% +ress $8&% +assi#e Te!p

Te!porary 2own 4troke 4tru! 5ff $E1% +ress $&% +assi#e Te!p

Enter stru! !ode Click $81% +assi#e 4tate(change

E6it stru! !ode Click $E1% +assi#e 4tate(change

4tru! upwards open 4tru! 5n $81% Click $8&% cti#e Te!p

4tru! downwards open 4tru! 5n $81% Click $&% cti#e Te!p

4tru! upwards half !uted 4tru! 5n $81% Click $8&% cti#e Te!p

4tru! downwards half !uted 4tru! 5n $81% Click $B&% cti#e Te!p

4tru! upwards fully !uted 4tru! 5n $81% Click $'&% cti#e Te!p

4tru! downwards fully

!uted

4tru! 5n $81% Click $&% cti#e Te!p

4taccato down stroke 4tru! 5ff $E1%

2own 4troke

$21%

Click $'&% +assi#e 4tate(change

4taccato up stroke 4tru! 5ff $E1%

9p 4troke $ 1%

Click $'&% +assi#e 4tate(change

-alf !uted down stroke 4tru! 5ff $E1%

2own 4troke

$21%

+ress $2&% +assi#e Te!p

-alf !uted up stroke 4tru! 5ff $E1%9p 4troke $ 1%

+ress $2&% +assi#e Te!p

8ully !uted up stroke 4tru! 5ff $E1%

9p 4troke $C1%

+ress $ &% +assi#e Te!p

8ully !uted down stroke 4tru! 5ff $E1%

2own 4troke

$21%

+ress $ &% +assi#e Te!p

'race note downwards 4tru! 5ff $E1% +ress $21% +assi#e Te!p

'race note upwards down

stroke

4tru! 5ff $E1%

2own 4troke

$21%

+ress $ 1% +assi#e Te!p

'race note upwards up stroke 4tru! 5ff $E1%

9p 4troke $ 1%

+ress $ 1% +assi#e Te!p

- 31 -



2ru! kit – sticks

$B(1% Kick dru! ( 4oft $C% /ow 3eck – *uted $C% Crash(3ide – Edge $/eft%

$C&% Kick dru! $2% /ow 3eck – Edge $/eft% $C% Crash(3ide – Bell $/eft%

$C&% 42 ( 4ide(4tick $2% /ow 3eck – 3i! $/eft% $2% Crash(3ide – Tip $/eft%

$2&% 42 ( dou)le hit $/eft% $E% /ow 3eck – Center $/eft% $2% Crash(3ide – Bell $3ight%

$2&% 42 – 3i! $/eft% $8% /ow 3eck – Center $3ight% $E% Crash(3ide – Tip $3ight%

$E&% 42 – 3i! 4hot ( edge $/eft% $8% /ow 3eck – 3i! $3ight% $8% Crash(3ide – Edge $3ight%

$8&% 42 – 5ff Center $/eft% $'% /ow 3eck – Edge $3ight% $8% Crash(3ide – Chock $hit%

$8&% 42 – Bu 3oll $/eft% $'% -i 3eck – *uted $'% ;&= 3ide – Edge $/eft%

$'&% 42 – Center $/eft% $% -i 3eck – Edge $/eft% $'% ;&= 3ide – Bell $/eft%

$'&% 42 – 4tick Click $% -i 3eck – 3i! $/eft% $% ;&= 3ide – Tip $/eft%

$&% 42 – Center $3ight% $B% -i 3eck – Center $/eft% $% ;&= 3ide – Bell $3ight%

$&% 42 – Bu 3oll $3ight% $C@% -i 3eck – Center $3ight% $B% ;&= 3ide – Tip $3ight

$B&% 42 – 5ff Center $3ight% $C@% -i 3eck – 3i! $3ight% $CG% ;&= 3ide – Edge $3ight

$C1% 42 – 3i! 4hot ( edge $3ight% $2@% -i 3eck – Edge $3ight%

$C1% 42 – 3i! $3ight% $2@% 4plash – choke

$21% 42 ( dou)le hit $3ight% $E@% 4plash – /eft

$21% 42 – 3i! 4hot – Center $8@% 4plash – 3ight

$E1% 42 – 3oll to hit $8@% 1= Crash – -ar!onics

$'1% -- – Closed – edge $/eft% $'@% 1= Crash – Edge $/eft%

$'1% -- – Closed – Tip $/eft% $'@% 1= Crash – Bell $/eft%

$1% -- – Closed – Edge $3ight% $@% 1= Crash – Tip $/eft%

$1% -- – Closed – Tip $3ight% $@% 1= Crash – Bell $3ight%

$B1% -- – 4plash $B@% 1= Crash – Tip $3ight%

$C;% -- – 4to!p $C>% 1= Crash – Edge $3ight%

$C;% -- – 5pen – Tip $/eft% $C>% 1= Crash – chocking

$2;% -- – 5pen – Edge $/eft% $2>% 1= Crash – Chock $hit%

$2;% -- – 5pen – Tip $3ight% $2>% 1J= Crash – -ar!onics

$E;% -- – 5pen – Edge $3ight% $E>% 1J= Crash – Edge $/eft%

$8;% -- – Bark $8>% 1J= Crash – Tip $/eft%

$8;% 8loor 2ru! – *uted $8>% 1J= Crash – Bell $/eft%

$';% 8loor 2ru! – Edge $/eft% $'>% 1J= Crash – Tip $3ight%

$';% 8loor 2ru! – 3i! $/eft% $'>% 1J= Crash – Bell $3ight%

$;% 8loor 2ru! – Center $/eft% $>% 1J= Crash – Edge $3ight%

$;% 8loor 2ru! – 3i! $3ight% $>% 1J= Crash – chocking

$B;% 8loor 2ru! – Center $3ight% $B>% 1J= Crash – chock $hit%

$C% 8loor 2ru! – Edge $3ight%

broadway big band - kontakt edition - manual v1.0.1

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