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1. right ctrl click to reassign learn different controller assignments DYNAMICS DEFAULT CC1 MOD WHEEL Control and xFade the different dynamic layers recorded EXPRESSION DEFAULT CC11 Controls the volume of the articulation MICROPHONE MIX SETTINGS Welcome to the wonderful world of Air Studios and the mixes of our chief engineer Jake Jackson Use the chips beneath the faders to load unload different microphones and the faders above to tweak the balance of them Turning a fader all the way down will also unload the mics conversely turning the fader back up will reload Right CTRL click on the faders to assign CC controllers so you can mix these live for fantastic shifts in the spacial nature of the samples MICROPHONES MIXES Right Ctrl click on the mic letters to change Kontakt channel output assignment STANDARD ARRAY C Close mics a selection of valve mics placed for optimum focus close to the instruments This mic control is great to add in for added definition and at times a bit of rounding of sound in isolation it can be a way of achieving a more intimate or pop music style sound T Tree This refers to the Decca tree of three mics placed above the conductors podium In the case of Sable priceless vintage Neumann 505 These are placed to give the ultimate sound of the band the hall and are the default mic position that loads in with each patch Ambient set of conden2. 118 FX 8 89 Trems measured M 150 bpm time machine 119 FX 9 90 Trems measured TM 120 bpm time machine 120 FX10 91 Double tonguing 121 Disco falls 92 Triple tonguing 122 Rips 93 Quad tonguing 123 Falls 94 Double tonguing con sord 124 Rips con sord 95 Triple tonguing con sord 125 Falls con sord 96 Quad tonguing con sord A COUPLE OF TROUBLESHOTS This is a manual to accompany v1 0 of a totally new line for Spitfire With a totally new set of samples scripts and Ul We used our experience as busy film composers to deliver something that we d like It is our hope that you keep in touch with us to let us know how you re getting on how you re using BML how you re finding it and if we were to consider looking at areas in the future what you d like us to look at From this we ll form a consensus and wholeheartedly pledge that we will act upon it wherever possible or practical We ve already recorded new material which will be distributed for free in service updates We do this because even after years of experience it s not always easy to predict how things turn out So we leave space in our budgets to go back and record stuff that may not have worked as well as we like may need expanding upon or to widen the scope of something that s surprised us and we want to make more of Keep an eye on your in box and our site for new additions to the BML range and others and of course our site A couple of commonly asked quest
3. set ups that closely Integrate with notation software or Indeed performance patches that react to the way you play this deep editor be for you It s accessed by holding CMD or on PC and clicking the articulation icon be closed by clicking the X to the bottom right of the UI LATCH TOGGLE Switches this way of selecting the articulation on WITH SELECTOR Selects how you would like to select PARAMETERS Edit these to select a range in which this articulation would be selected Please also see our chapter on UACC page 16 for further options on articulation selection THE OSTINATUM Acces via the icon beneath the spanner SETTINGS RHYTHM COMPUTER N N gt Tuba Solo Output st 1 dp Voices OF Midi Ch A 2 dt Memory 20 66 MB TRANSPORT OSTINATUM FRONT PANEL wy tet ALBION have all the fun We ve ported this over from the Albion range see page 19 Best used with short articulations this ever evolving device that can offer instant chaotic inspiration be used to create scientifically designed rhythms ostinati and arpeggiated sequences to shimmering tremolando effects SETTINGS e E Mode Off qm Control Keyswitches CB LOAD SAVE Allows you to store your preciously made Ostinati SoloKeyswilohes 280 MODE Selects how the Ostinatum will interpret your playing Ostinatum wi
4. support and loyalty of our user base our Facebook friends and everyone at VI Control We are in the same boat as all of you We re not content and software developers by trade so appreciate your honesty in paying your way to be a part of our family and not distributing this il legally But more importantly if you have any ideas or criticism please let us know directly via our website in a constructive manner You never know you Just may have thought of something that we hadn t considered We want to make our entire range the best there is and we rely on you to help us achieve that With thanks Christian amp Paul CIOPqRTIG H T IS U D Iso 8 2 003 www spitfireaudio com
5. the Round Robin you don t like and then stop Observe the pictured cog bottom left of the front panel Ul and click on it to get this dialogue gt Tuba Solo H Output st 1 th Voices OF 32 Purge UE MG o ROUND ROBIN amp LEGATO CONTROLLERS ma Presets S O No extra functionality Dynamics Purge unused Roundrobin x B Reset from co Reset on transport CC1 mapped vel Expression 2222 o C Shortarticulation RTs P OPTIONS k b nr HOW SHOULD WE TWEAK G5 RR1 x i4 X moi RR REMOVE SKIPTHIS ADJUST ADJUST SAMPLE ALL HOTE TUNE OL BHELEASE START TWEAKS Q Transpose 0 Ph rp EX 0 C71 J i 2 a LL HOW SHOULD WE TWEAK Then your last note played will be displayed if this is correct get tweaking SKIP THIS RR Will simply make it always jump along to the next round robin in the cycle ADJUST TUNE VOL Will adjust the tuning and or volume of the last played note ADJUST RELEASE This will alter the level of the release trigger which will effect the percieved decay of that note SAMPLE START If it feels loose adjust to the right tight adjust to the left REMOVE ALL NOTE TWEAKS This removes all custom changes you have made with the Cog H bee UNIVERSAL ARTICULATION ed ed CONTROLLER CHANNEL WS uu We finally admit that things have got out of hand here in the world of Virtual instrum
6. MANUFACTURED IN B M GREAT BRITAIN BY SPITFIRE THE BRITISH MODULAR LIBRARY gt 0 bcc DE AE 5 Beet ve USER MANU Vale WELCOME Thanks for purchasing BML Low Brass he second of our definitive deeply sample and detailed brass range We strongly urge you to read this manual as the BML range 15 packed with features not found yet in some of our other products With particular attention to the Front Panel page 7 which 15 designed lovingly to help you get the most out of these samples and to make them your own About Spitfire Audio Spithre was formed in 2008 by a group of successful British composers as a means of producing the tools they needed for their busy work schedules Sick of dry humourless ugly unrealistic enormously untam able sounding libraries Spitfire set about redefining the way samples were created Our aim is to reproduce the conditions of top movie recording sessions and approach sampling as if we were recording a film score one note at a time We don t imitate how film scores are recorded we repli cate them by using the same facilities signal chain techniques and musical amp technical talent We record performances and parts thereof not scientifically created samples and importantly we record the room they play in If you are wanting perfectly tuned normalised or dry samples you have probably come to the wrong place For here you may find the odd string squeak a fruit
7. MODULE IN THE LIBRARY PANE Simply navigate to the HORNS via the File browser pane If you have never used Kontakt before we wholeheartedly recommend your familiarise yourself with the ba sics of patch or instrument loading multi management outputting and MIDI routing detailed in the Kon takt user manual provided with your copy of Kontakt or in the documentation folder of your Kontakt file HORNS FOLDER STRUCTURE BML is ingeniously designed for you to have everything you need in relatively few patches or instances You basically do most of the sound navigation within these instances But we have built a selection of preset patches or Brush Sets that pre load useful selections of sounds to cut down on the time you need to build your template or indeed to make best use of your system resources SOLO HORN amp HORN a2 ALL IN ONE Load these to get the full BML experience ECONOMICAL PATCHES A collection of less stressful system wise instruments INDIVIDUAL PATCHES For the template heads out there Each articulation loaded into it s own soli tary instrument with keyswitches articulations locked OTHER PATCHES Including THE PUNCH COG See page 15 this is a cog enabled all in one TIME MACHINE Two time machine activated patches for shorts ALBION OVERLAYS These are ingeniously designed to load up alongside even on the same MIDI channel as their Albion cousin so that they can be played and mixed in to
8. ecorded at 96k through vintage valve and ribbon mics to 2 tape through custom Neve Monserrat preamps and Prism convertors at the hall in Air Studios one of the greatest scoring stages in the world With different stereo and 5 1 mixed ver sions from our chief engineer Jake Jackson the library is designed to be scalable for a variety of systems from your laptop on the red eye from NY to LA to your multi slaved rig back at your studio compound 203 LOW BRASS SIMPLY THE BEST PLAYERS OFTHESE INSTRUMENTS IN THE WORLD After a decade of enjoying the delights of enormous sample libraries providing broad brush stroke proaches to writing which have successfully dominated film gaming and TV music to a large extent Spitfire are at last proud to present a new set of tools Indeed the finest of tools you need to write detailed and focussed orchestral works that have a personality and style that represents your personality that expresses your creative will and provides you with fresh pastures of experimentation Put quite simply composers the world over travel huge distances for a chance to work with the players captured here They can be heard defining the sound of Inception for warming up the Harry Potter se ries You name a film recorded in London that uses Low Brass and at least one of these players will show up Samuel Adler in his definitive The Study Of Orchestration said of the contra bass trombone The Contrabass Trombone is
9. ents Every single one works differently responds differently to different key switches and controllers and thats just within our own library The UACC pron you ack project is our attempt to unify articulation switching across our entire range and it s one we hope other developers will also adopt It will mean greater integration between your set templates greater encouragement to venture into the darker less visited corners of your col lection and a smoother workflow When selecting Articulation Locked UACC you disable what we believe to be the soon outdated keyswitch method of articulation selection In favour of UACC which defaults to channel 32 change this by right clicking the CC slider next to the padlock This then gives you the option of using a MIDI controller to select articulations based on the list below We recommend a switch based controller or an iPad app Alternatively simply dial in event or automation data on your DAW The latter will give you the ability of always being on the correct articulation even if you haven t rolled your sequence back before the midi event This list is a work in progress and we look to users and other developers to finalise it Longs vib xFade CC21 Longs con sord Longs alternate mute Longs sul pont Longs con sord sul pont Longs sul tasto Longs flautando Longs artificial harmonics OO l O OQ S gt Longs SUL lowest string 10 Longs sul pont heavy disto
10. es otherwise the start of the sample will be re triggered As the lyricial scope of some the of the instruments within this library is re stricted the contrabass trombone requires so much puff you d be easy to get half a bar out of it with some dynamics legato 15 only available on the Tuba LONGS Marked Regal which 15 a warm soft tone going up to a strong declaimation without vibrato These use dynamic controllers SEE EXPRESSION CONTROLS page 11 LONGS MUTED Trombone amp Tuba only With a mute in the case of the Tuba a huge conical piece of wood placed in the bell to produce a more papery reedy tone LONGS CUIVRE Fr ringing or sonorous achieved by a slight tensing of the lips to produce rasping brassy tone MARCATO This is the longest short note and it has a round marked attack TENUTO This is the medium length short note C P E Bach suggested Notes which are neither stac cato nor legato nor sostenuto STACCATO The shortest of our shorts RIPS amp FALLS These are fx of quick glisses up to and down from the note you play on the keyboard You can control them in two ways Longer rips falls are on MW from 0 64 Shorter one from 65 127 and there are two dynamics controlled by velocity OPTIONS ROUND ROBIN amp LEGATO GENERAL CONTROLS eal Transpose 0 2 Resetfrom co PTI O Reset on transport manned uel Short articulation AT
11. ion playing and act as switches between them alongside they re associ ated keyswitches We have created a series of presets with different articulations loaded SEE PRESETS IN GENERAL CONTROLS PAGE 9 LOAD TOGGLES The little RAM chips beneath the notes denote load status of the articulations If you play and articulation that isn t loaded the front panel will alert you Click on the chip to load unload E Make sure Kontakt displays the instrument load status as pictured If the left hand bar TARE 15 illuminated and red it s in a queue and hasn t started loading yet if the middle bar is lit and yellow the instrument ts still loading up If you try to play before it s loaded it may not be nice ARTICULATIONS Click on these notes to select the different articulations or indeed press their associ ated key switches you can do this whilst your playing so if you want to say switch from a long articulation to a short hit the key whilst you re playing your last long and the next note will be a short A brief guide to these articulations is displayed overleaf SIDE BAR DISPLAY AND ADVANCE TOOLS On the left of your articulation stanza is a side bar that displays the name of the articulation you re cur rently playing Beneath it are three options KEYSWITCH SHIMMIER This shimmys the position of all the keyswitches left or right convenient if you re creating your own multi instruments and don t want to hit keyswitche
12. ions This library really isn t behaving how l d expect OK so we re now officially blue in the face But before you go ANY further please check you are using the ABSOLUTE latest version of Kontakt Visit your trusty service centre and we hope this page remains relatively under thumbed My instrument or patch seems to be playing just bits of sound some keys are missing and there s lots of clicks and crackles Make sure that your patch is fully loaded detailed on the front panel page 8 Some of these are biggies so can take a while But if problems persist make sure Kontakt memory manager Is activated Interface KMS KONTAKT Memory Server Engine Handling Ej Use Memory Server Initial activation requires restart and at least 4 GB RAM Please refer to the user manual for further information Load Import accessible RAM For memory server 7 2 GB Database Memory Seruer mode Memory Rutornatic KONTAKT will purge unused samples automatically Audio and handle the server MIDI Manual Instrument preload buffer size Instrurnent s preload size 60 00 kB You ll have to restart this instance of Kontakt to feel it s benefits Another reason your system may be struggling is that you re using too many mics live for the spec of your ma chine Try cutting the mics as detailed on the front panel to see if this cures your problem If it does don t worry you can still use these mics ju
13. ll sequence a maximum of 10 notes one for each of your fingers It needs to arrange them into a note order 1 10 and this determines how it does that OFF The default postion Ostinatum remains dormant ORDER PRESSED This will organise the notes in the order you pressed them ASCENDING From bottom to top DESCENDING From top to bottom CONTROL KEYSWITCHES Allows you to set up a section of the keyboard that controls the state of the ostinatum These keyswitch let you turn it off or set the Mode SOLO KEYSWITCHES Allows you to dedicate a section of the keyboard to keyswitches that solo each ostinatum track The first KS turns all tracks on the following KS solo each individual track CHORD MODE This ignores any note order and simply plays everything polyphonically great for measured trem style effects TRANSPORT ee This is a real time note order display So with Ascending mode activated a c major triad played from middle C up will show up 1 C4 2 E4 3 G4 These note numbered assignments are processed in the THE RHYTHM COMPUTER NOTE MENU Click these to place a note into the computer at the length you desire Trash removes and scroll down dif ferent pre designed sequences to the right of this The cog allows you further fine tuning and configuration tools LENGTH This displays the note lengths in sequence that you have selected from the Note Menu Drag down here to cre ate rest versions of the
14. much too taxing on the performer and one is advised not to write for it any more we have a player who doesn t even blink when booked to play the thing continuously for hours Cimbasso that obscure member of the trombone family that you ll find in the works of Verdi and Puccini and little else Well we didn t just get one player who thinks nothing of being booked for regular session work we found three And finally the Tuba in Owen Slade you will not find a better Tuba player on the planet If there s a score being recorded in London on any given day that needs Tuba he ll be there and if he isn t he s been booked on something else at Abbey Road Combined with the majesty of the hall at Air that signal chain that 2 tape Jake Jackson s mastery of the room and the mixes we re sure you ll agree you ve Just laid your hands on something truly special Before putting the keys in the ignition just a quick word on musicians Without them we wouldn t have this library Its designed to help us all write better music for them to play To hire smaller bands and have them play material that is appropriate to their size To encourage people who have never written for brass to dive in with confidence We are not here to do away with musicians we wouldn t pay them a voluntary royalty from sales if we were So whenever you can please go live even if its one or two play ers single solo horn on the top line can make all the difference so e
15. ne basso Verdi Verdi scored for this instrument in subsequent operas Otello and Falstaff thereafter it was adopted by most Italian orchestras It slipped into obscurity in the 20th century orchestras opting to pass these parts onto the Tuba but has seen a recent revivial especially in the realm of film scores It is a valved instrument with the appearance of a tuba that has been on a very effective diet Whilst it s range is quite low it s finer bore doesn t offer as much chocolatey bottom end that the Tuba does But it s not this that we re looking for with a Cimbasso for the real character of the instrument is in it s upper dynamics and Cuivre style of playing For therein lies a sound that could have sprung straight out of a Hyronemous Bosch painting CIMBASSO A2 As above but with 2 two different players playing at the same time Combine the two patches and you have three Verdi trombone bassos THE FRONT PANEL GENERAL CONTROLS MIX POSITIONS EXPRESSION CONTROLS X N J Tuba Solo SREP Output st 1 In Voices 22 Purge Midi Ch 2 D Memory 20 66 MB j DEFAULT CCs Expression ARTICULATIONS at Lei ARTICULATIONS nusu sets Jot s J ud J ARTICULATION STANZA On the right of the diagram above you will see a line of musical notes These actually denote key articula tions display the current articulat
16. note length KEY Under each note you can then select which key displayed in real time in the Transport this note is attached to Scroll up and down to select So in the sequence pictured a C triad will sound C E C C C C OFFSET Adjust these bars up and down to adjust the velocity levels of each notes this will bring your rhythm sequence to life and provide you with all sorts of surprising syncopated accents NOW HIT PLAY ON YOUR DAW AND ENJOY THE PUNCH COG Available on Instruments saved in the Punch Cog folder As we record our samples like you would a film score we actively encourage our musicians to make every note sound different To play with the flair that would be expected from them on a score shoot We like tuning imperfections little squeeks the odd breath of a human We like our pizzicatos loose and for the odd rub between players when playing transitions However much we apply our exacting taste principals onto our range we re never going to meet with every one s preferred quality bar or needs and expectations of a project So we present to you Blake Robinson s coup de grace A way of punching notes in and out like we used to in the old days A way of customising your library to fit your taste and needs If there is a round robin you don t like or a long note where the tuning is a bit fruity Load in a Punch Cog instrument and switch to the articulation you were using Play until you find
17. ome We recommend a combination of high processor speeds a good chunk of memory and a devoted 7200rpm eSata USBII Thunderbolt or Firewire audio drive The more memory you have the less demand placed on your drive and having a totally devoted drive gives you the chance to load less into memory and reduce load times The higher the speed of your CPU the more ca pable your computer will be to deal with some of the amazing but complicated scripts we ve written PCs We recommend Windows 7 latest Service Pack 32 64 Bit Intel Core Duo or AMD Athlon 64 X2 2 GB RAM 4 GB recommended MACs We recommend OS X 10 6 10 7 or 10 8 latest update Intel Core 2 Duo 2 GB RAM 4 GB recom mended DRIVES Firewire USBII eSata 7200rpm Ask your dealer for drives that are suitable for AV use We always recommend as small a drive as possible as the platter will be smaller and the seek time less Depending on what mic positions and mixes you download the library will eventually take up 20 120 Gig on your hard drive If using several large libraries or a number of Spitfire modules from the same machine we really recommend having your samples distributed over a number of drives Lacie eSata Quadras 7200rpm we highly recommend Moreover an exciting development lies in the recent arrival of some amazing solid state SSD drives With seek times reduced to a fraction 0 1ms vs 6 9ms of what standard drives can offer we are ce
18. rtain you will be able to reduce your sampler s pre load page 15 buffer tenfold meaning you ll be able to load enormous orchestral palettes into a single machine HOST The Kontakt 4 platform should work comfortably on most commonly found platforms DAWSs As always make sure you re as up to date as you can afford If you re planning on building or adding Spitfire to an already large orchestral palette we recommend running your library independently of your DAW either on your host computer e g via Re Wire or on a slave device e g via Midi or MOL This will assist your loading times and will allow your DAW to do what it does best sort out all your note ons and note offs We heartily endorse Plogue Bidule www plogue com as a virtual rack routing system For more advice and information about setting up please check our website LETS GET STARTED Because you re reading this manual we can presume you have successfully downloaded your BML product Included in your download emall are some detailed installation instructions please follow these carefully before going any further We ll see you back here when yourre installed Before opening Kontakt please make sure you THE LATEST VERSION OF KONTAKT 4 2 4 OR 5 INSTALLED 95 of all service enquiries relating to spurious or strange behaviour of our wares are solved by installing the most recent version As this is NOT a Kontakt Player Library YOU WILL NOT SEE THE
19. rted 11 Longs Cuivre brass only 12 Longs vib13 Longs flutter 14 Longs hollow flutes only 15 Longs overblow flutes only 16 Longs overblow flutter flutes only 17 Longs Mariachi if separated off 21 Legato 22 Legato con sord 23 Legato SUL lowest string 24 Legato half section 25 Legato half section con sord 26 Legato sul pont 2d Legato fast run if separate patch 28 Legato flautando 29 Legato harmonics CONTINUED CONTINUED 41 Spiccato strings only 42 Shorts spiccato 43 Staccato 44 Staccato dig 45 Spiccato con sord 46 Feathered spiccato 47 Staccatissimo 48 Tenuto shorts 49 Marcato shorts 50 Combined shorts via velocity with dyn on MW 51 Staccatissimo con sord 52 Tenuto shorts con sord 53 Marcato shorts con sord 54 Combined shorts via velocity with dyn on MW con sord 55 Staccatissimo con sord ALT 56 Tenuto shorts con sord ALT 57 Marcato shorts con sord ALT 58 Combined shorts via velocity with dyn on MW con sord ALT 61 Pizzicato 62 Pizz Bartok 63 Col legno battuto 71 Trills min 2nd 72 Trills maj 2nd 73 Trills min 3rd 74 Trills maj 3rd 75 Trills perf 4th 81 Trems unmeasured 111 FX 1 82 Trems unmeasured con sord 112 FX 2 83 Trems unmeasured sul pont 113 FX 3 84 Trems unmeasured con sord sul pont 114 FX4 85 Trems measured 180 bpm He FX5 86 Trems measured 150 bpm 116 FX 6 87 Trems measured 120 bpm 117 FX 7 88 Trems measured M 180 bpm time machine
20. s PRESETS This allows you to load predetermined sets of articulations affectionately called articulation sets see page 5 quickly and easily to optimise your system quickly for essential articulations or to start building templates using empty shells PURGE UNUSED This control keeps unloading any samples you are not using to keep your memory usage as low as possible TRANSPOSE Toggle this on and tweak the number to the right to transpose your instrument Note this is not the same as tuning the instrument will actually offset the samples to the selected pitch A great way to track up BML and make it sound bigger CC1 MAPPED VEL OCITY Click this to have velocity controlled dynamics for the shorts for instance mapped to CC1 as it is with the longs FP HALL TRIGGER This new feature cleverly tracks your dynamic use of the instrument any sudden reductions in dynamic don t suck the hall out with it Great for forte piano moments but only use if you re sure you re going to need it as it uses more voices than in standard operation ROUND ROBINS amp LEGATO ROUND ROBINS This refers to the number of round robins multiple recordings of the same notes that cycle around as you repeatedly play a note your instrument uses the number can be dragged up and down 1 8 to save you memory RESET FROM FO This enables you to control the round robin cycle so it sounds identical every time you play toggle on amp play the ke
21. s by mistake KEYSWITCH TO CC SELECTOR Use this to assign a CC controller to act as articulation keyswitcher Click on CC and you ll be prompted to move the controller you wish to use in order for the instrument to learn how you d like to select articulations ARTICULATION LOCKER We all like to select articulations and use our templates in different ways Many composers like to have a single articulation loaded to each instance of an instrument for example So its worth locking off the articulation switching once you ve selected one so you don t have sounds disap pearing from slaves way off in your machine rooms Unlocked Artic ls the standard setting select articulations via the front panel or associated keyswitch Locked Artic This locks your articulation so it doesn t change either via front panel keyswitch Locked Keyswitch This locks your articulation via keyswitch but you re free to switch via the front panel Locked to UACC This is a new standard being developed by Spitfire and detailed on page 16 The default controller channel is 32 but this can be changed by right CTRL clicking on the padlock Please also see advanced articulation selection on page 13 for more articulation switching options np Ji L s A BRIEF GUIDE LEGATO These are true legato patches where every possible interval within the range we have selected has been recorded They are monophonic and rely on you overlapping the not
22. ser mics placed high up in the gallery away from the band This mic position gives a massive amount of stereo spread and room sound over the band Great mixed in with the other mics but also ideal fed to your Ls amp Rs speaker sends for true surround information O Outriggers a set of vintage mics placed wide apart to the left and right of the tree These give a similar balance of room and band but with a broader stereo spread The effect of this mic is somewhere between the tree and ambient mics EXTENDED ARRAY ST Stereo Mic These are totally different mics in a totally different position to the tree closer to ground level and have a more direct and immediate sound than the tree G Gallery mics three mics at the very furthest point from the band way up in the gallery true representation of Air Studios amazing ambience CR Close ribbons Placed next to the standard close mics but using a rarefied selection of vintage ribbon mics to add a warm and rounded tone JAKE JACKSON MIXES 3 extraordinary mixes to save your system resources B Broad a cinematic symphonic mix that allow the hall to really speak out M Medium a more intimate but still very classic version of the mix above F Fine a much more detailed and immediate sound with less hall great for pop ADVANCED STUFF MICROPHONE MIX TO ARTICULATION LINKER The small notation symbol locks the microphone mix or tweak you ve made the artic
23. st play in your parts with one active we recommend the and then activate multiple mics and render down eg freeze function in Logic Studio Some DAWS ahem Logic only use one core of your computer when recording but will use more when playing back so again try recording with just one mic then dial in others once you re happy If you re still suffering may we suggest you try and manage your pre load buffer Kontakt pre loads some samples into memory so that when you hit a note Kontakt plays it out from RAM whilst addressing the rest of your samples from your hard drive s The slower your drives the more you may want to rely on RAM the faster the drives or smaller RAM available the more you may want to rely or your drives If you re using the latest generation of SSDs you ll find you can radically reduce your pre load buffer Referring to the plate above tick the Instruments Default Pre Load Buffer Size and drag the fader to a setting you re happy with QUICK THANKS Christian amp Paul would like to thank Dominic Kelly Alison Burton and the whole of the Air Studios team To Jake Jackson for making everything sound so marvellous and the remarkable talents im mense intellect and invention of James Bellamy Stanley Gabriel Andrew Blaney Blake Robinson and Stu Kennedy Also to our newest members of our team Joe amp Toby we ve got you now we re never going to let you go Most of all we would like to thank the amazing
24. tal unison See page 19 3 AMAZING INSTRUMENTS THE TUBA A wide bore valved brass instrument used as a bass or contrabass member of an orchestra Often used as a comedy effect for it s short farty parps it is often forgotten what a beautiful chocolatey tone it can give Arranging for a choir of tuba euphoniums and horns would provide a seemless onslaught of tear inducing beauty In the right hands and in Owen Slade here we certainly are they can be incredibly lyrical but also at the lowest part of their register and upper dynamic levels monstrous and utterly terrifying THE CONTRABASS TROMBONE Wagner Strauss and Schoenberg are some composers who put this instrument through its paces however the eponimous Samuel Adler in his book The Study Of Orchestration rather flippantly remarked Since the contrabass trombone taxes the performer so greatly we advise not to write for the instrument Pah to that London has a handful of fine players and in this library we have the finest So the CB Trombone is as the name would suggest part of the trombone family a brass lipped reed aer ophone with a cylindrical bore featuring the familiar telescopic slide Be warned though whilst we have looped the samples here be wary when writing loud lower parts You d be lucky to get half a bar of sustained notes in these conditions THE CIMBASSO In 1881 G C Pelitti created at Verdi s request a new low brass instrument the trombo
25. ulation selected This means if you want to boost any perceived incon sistencies in volume between say pizzicato and col legno you can Or indeed if you want to roll off some of the hall ambience for a short versus the long articulations this is how to fine tune CLOSE MIC PAN COLLAPSER To the right of the above Is a selector that opens the mic collapser The close mics are a stereo mix and this collapser allows you to refine how the stereo image is handled All our musicians are recorded in situ ie where they would be seated on a standard scoring session giving you a fantastic spectral spread when putting all the elements together which helps define the detail This panning tool helps you to manage and tweak this to your own tastes needs STEREO WIDTH Allows you to control how far the stereo image reaches All the way to the right would be like having your two pan pots panned hard All the way to the left would be like having both pots centre STEREO PAN Then allows you to control where in the pan field the centre of this image is placed ADVANCED ARTICULATION SELECTION foices OF 32 Purge foo OPTIONS ROUND ROBIN amp LEGATO CONTROLLERS a Dynamics db 2 a ied Roundrobin x usu Puri Short 3 db O Tra Cy patch 7 with Vel 64 127 Articulation gra lobal For those of you who want to tweak your articulation selection further o create
26. ven if the budget doesn t permit ask your producer or director to see what they can find down the back of the sofa CONTENTS SPECIFICATIONS 5 LETS GET STARTED 6 3 AMAZING INSTRUMENTS 7 THE FRONT PANEL 8 THE ARTICULATIONS 9 GENERAL amp EXPRESSION 11 MICS amp MIXES 12 ADVANCED 13 OSTINATUM 14 THE PUNCH COG 16 UACC 17 A COUPLE OF TROUBLESHOOTS 19 A QUICK THANK YOU 20 SPECIFICATIONS KONTAKT BML is NOT a Kontakt Player library so you WILL need a full version Kontakt to run it PLEASE MAKE SURE YOU HAVE THE LATEST VERSION OF EITHER KONTAKT 4 2 4 OR 5 INSTALLED Be cause this module doesn t authorise through the NI Service Centre and Is personally watermarked you will be able to install on all the machines you own Owning a full version of Kontakt will afford you the luxury of being able to edit and revise the patches to your particular preference Remember we pride ourselves in making truly esoteric tools so if there s a sample you don t like you can change it for another with relative ease check out the new Punch Cog on page 15 to see how you can easily do this RECOMMENDED SPEC The better your computer the better the performance of any Spitfire module But not to worry if you re not spec d up to the hilt All programs are provided with a set of parameters that enable you to tone back the CPU demands of any given patch But moving forward we re confident this module will keep your computer busy for many years to c
27. y note and lots and lots of room but put the whole package together write some beautiful music and suddenly this library and our approach will make perfect sense In thanks to using the greatest talent we have available to us in the UK alongside the greatest facilities and technicians Spitfire Audio supports the British music industry by paying the highest rates possible to it s contributors alongside a royalty based on the success of sales So in buying this software you are also sup porting British musicians studios and technicians and we thank you for that About The British Modular Library The British Modular Library is to be a deeply sampled extensive set of tools providing composers with the ability to add fine aspects of extreme detail musical expression beauty and focus to their work To greater understand the instruments your writing for encourage you to write music that musicians love to play and to get the most out of smaller ensembles and the wealth of timbral colour and character they can add to any project Recorded the SPITFIRE WAY and showcasing the finest musicians in the UK today playing the rarest and most priceless instruments The BML will demonstrate why London is the oft preferred scoring loca tion for composers the world over After many years of development experience Spitfire will present this library with a user interface and set of features unprecedented in any library to date With 7 mic positions r
28. y selected default FO to reset RESET ON TRANSPORT As above but resets every time you press play Genius NO EXTRA FUNCTIONALITY NEIGHBOURING ZONES Next to this lies a pop down menu with some amazing new functions e No extra Functionality Is the standard default where round robins used as they were intended e Neighbouring Zones pulls from neighbouring zones so for an 8RR instrument you effectively cycle through up to 24 different sounding notes when pressing a key It s still just playing the one RR at a time though giving you more of them In legato mode this also alternates between 3 legato intervals to give a fake round robin 2x Round Robin With Skip plays two RR simultaneously so you get a thicker sound it s the equivalent of plopping two notes on top of each other in your DAW and it drops the overall volume 6db so that the levels remain the same but it just sounds thicker NB THIS IS NOT AVAILABLE TO LEGATO TRANSITIONS This plays the pairs and moves ahead by 2 RR In this mode RR is effectively halved eg if you press a note it would play RR1 RR2 then RR3 RR4 etc e Layer 2x Round Robins With No Skip As above but this plays a pair but doesn t move ahead 2 so that RR isn t halved So if you press a note it would play RR1 RR2 then RR2 RR3 then RR3 RR4 EXPRESSION CONTROLS mid Visual representation of the various expression controllers available to you neum 2T Expression
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