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Symphonic Choirs Manual - Soundsonline

1. es from File in the pop up menu You will E be prompted fora Voice entension vol or Choirs file extension cho Once you open a file the Add Phrase dialog appears allowing you to name the phrase and indicate the folder where it should be stored You can also specify whether the phrase is for only the original voice type or all voice types The entire contents of the Text Editor in the opened file is stored as a new phrase Chapter 4 WordBuilder 52 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT Yau can also create new phrase file from the current contents of the Text Editor by selecting Add Phrases from the pop up menu The procedure is the same as in the prior paragraph except that you are not asked to select a file instead before opening the dialog box use the mouse to highlight the section of text you want to save in a phrase file Loading Phrases into the Current WordBuilder Project Hover the mouse over of the folder names at the bottom of the pop up menu to see the phrases and sub folders inside that folder Select whatever file you want to include in your curent project and it will appear in the Text Editor control starting at the mouse Notes from the Producers This software was an enormous undertaking but it is not something we plan to release and then forget about Please check the EWAL forums at hitpvww soundsonline forums com tor a forum called Sym
2. light to load samples for Ss new microphone position a small window ike the one at the left appears to show you the prog rss and let you abort the loading of samples if you change your mind At the bottom is a Mute button with the letter M and an output button with three dots on it The Mute button temporarily si lences the output for that microphone The Output button allows the user to specify the stereo track to receive the audio output from this microphone Note that Default sends the output to whichever output pair is selected in the main Output button in the lower right corner of the user interface In the case of the WordBuilder voice types each multi loads either 6 12 instruments at once If you plan to send for example the Close and the Stage mics to separate audio channels you need to change that setting individually in all 6 or 12 of the instruments within the mult Chapter 3 The EWQL Symphonic Choirs User Interface 22 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT Performance Controls Tere are four tons grouped together in the Performance TES seco They Include ire Tr tuning on and af ins specife t Symphonic hie ta conl perfomance parameters Portamento Repetition Legato and one button for resetting the Round Robin counters See the section on Performance Scripts starting on page 63 for information on how to use these scripts When you first open an a
3. gels ah Sopranos singing an al sound eels ol Sopranos singing an oh sound eels ou Sopranos singing an sand The Demons are a choir of Basses singing the sounds of ah and ol They have demonic quality especially at the low end In addition the Demons sing in a cluster effects instrument It contains only a single sample in which the Basses sing a cluster of notes close to each other the scale As you hold the note the sound evolves over time to create a menacing effect Demons ah Basses singing an ah sound Demons oh Basses singing an i sound Demons cluster f Basses singing a close cluster of ates The Soloists The soloist samples are not designed to work with WordBuilder Instead they are provided as expressive voices Such usage is common in film scores and ambient music Three soloist voices are provided Soprano Ato Boy Soprano There is no Tenor or Bass soloist because those men s solo voices are less popular and rarely appear in fim scores Each of these three voices is provided as a keyswitched articulation file Chapter Instruments Articulations and Keyswitches EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT SOLOISTS SOP Salo KS AO Slo KS CEA BOY Sole KS CHAT Tables of the Soloist Instruments Each of the soloist files uses keyswitches to control the syllable that is sung and the style of singing The following tables d
4. Setting in Dialog Re 12 62 30 20 2 109 i2 6 78 7 AIL results are rounded to the nearest whole number between 1 and 127 you use these relative settings instead of absolute instructions such as lows you to change the velocity of notes in the sequencer or at the keyboard and have WordBuilder adjust the segments velocities proportionately Chapter 4 WordBuilder 38 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT Controlling Segment Transitions with Articulations When setting lyrics it is important to specify how the sounds flow into each other or don t Singing the word alone might need to be noticeably different than singing the phrase a loan to make the meaning clear even though the sounds of the letters are the same and even though the notes on the staff are identical As in musical lines Instrumental or vocal the performers need to make choices about how connected or disconnected the consecutive notes should be WordBuilder distinguishes between staccato and legato as well as other styles Not only was each sung note recorded with the various phonetic sounds but also with four different attacks for each vowel Normal Legato Staccato slurred Sliding WordBuilder uses the concept of a keyswitch to move among these four articulations Instead of writing extra notes in your score as in most other PLAY virtual instruments keyswitching can be managed with per segment setting
5. your sequencer in all channels connected to WordBuilder voices That way WordBuilder always knows when the sequencer starts over If you need ba ara to check the documentation for your sequencer to M find out how to add such a message to the event list this dialog you can reset the default to any CC code but if you do change it it is recommended that you use one of the unused codes The drop down shows you not only the numbers of the codes but their usual meaning as well Those with names that include General Purpose or Contro are unassigned and good choices The lower half of the tab allows you to specify CC codes and values whose meaning to WordBuilder is to start holding the syllable and stop holding the syllable If you want the ee sound of the word sweet to hold over five notes in the example below send the Hold On event from the sequencer before the ee has started on its first note and send the Hold Off event after the start of its fifth note T P Chapter 5 The WordBuilder Options Dialog 59 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT Playing Music with Symphonic Choirs Performance Scripts Volume Velocity and Expression Release Trails in Symphonic Choirs Panning The 3 Mic Positions not available in the Gold Edition Various Ways to Combine the Samples not in the Gold Edition Surround Sound Samples not available in the Gold Edition Click on this text
6. ally want to adjust the volume of the consonants to the same Value Then you can preset those choices and others here and not have to reset them every time you start the program The screen sho at the left shows these values entered into the Default Voice dialog box And this dialog filed in the LE same way is exactly what then appears each time you start WordBulde Important You must save the current voice file to the file system before these choices become the working defaults Chapter 5 The WordBuilder Options Dialog 58 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT The Events Tab The fourth tab in the Options dialog box lets you set event triggers MIDI messages that control the postion of the performance cursor while the vocal lines are being played At the top of the tab you can specify the MIDI Control Change code and its value that tell WordBuilder to reset the syllable curso to the beginning This MIDI event is the way fora sequencer to tell WordBuilder that it has stopped and gone back to the beginning For example without this setting if you played the first 4 measures stopped the se quencer then started again from the beginning WordBuilder would pick up at the words from measure 5 CRE The default setting is CC 20 with a value of 127 po is recommended that you insert this message meten whatever you change it to before the first note fammo dea
7. For each syllable in the Text Editor window the Syllable section lists its speed in the UI After the word Speed appears one of Normal if the default lengths are still in effect Learned if the lengths have been learned from either the Learn button or the Syllable Speed button if lengths or start times have been modified with the mouse if the Syllable Speed dialog box was used to adjust the lengths Resetting the Syllable Cursor As WordBuilder receives each note event it has no way of know ing whether the sequencer is playing the next note in the musical pase or the melody has been restate WordBuiider always makes he assumption that it is being requested to sing the next syllable unless it receives a Reset command There are four ways to tell WordBuilder to start again at the beginning of the text Click on the Reset Position button in the array of buttons in the upper right corner of the WordBuilder window Send a MIDI message see page 59 to leam how to specify the message Word Builder looks for Chapter 4 WordBuilder 48 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT Only when running standalone in Legacy Mode select Reset Position from the Voice menu Menu options ae only available when running standalone in Legacy Mode Press the FS key In either case the Reset command performs three actions repositioning the syllable cursor to the beginning of the te resetting any open keyswitc
8. PLAY EastWest Quantum Leap Symphonic Choirs Virtual Instrument Original Edition and Gold Edition Users Manual EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT The information in this document is subject to change without notice and does not rep resent a commitment on the part of East West Sounds Inc The software and sounds described in this document are subject to License Agreements and may not be copied to other media No part of this publication may be copied reproduced or otherwise transmitted or recorded for any purpose without prior written permission by East West Sounds Inc All product and company names are or trademarks of their respective PLAY is a trademark of East West Sounds nc East West Sounds Inc 2010 2013 All rights reserved East West Sounds Ine 6000 Sunset Blvd Hollywood 90028 USA 1 323 957 6969 voice 1 323 957 6966 fax For questions about licensing of products licensing eastwestsounds com For more general information about products nfoGeastwestsounds com hitpisupportsoundsonline com Version of September 2013 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT About EastWest Producer Doug Rogers Producer Nick Phoenix Recording Engineer Prof Keith 0 Johnson Credits How to Use This and the Other Manuals evousen Click on this text to open the MasterNavigationDocument 1 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL
9. they were entered by changing to the Phonetics layer and typing them in phonetically Returning to the English layer they appear in light blue as in the image above When writing in languages other than English all text is entered this way Finally the text sung at entrance is a comment It is not sung It appears in gray Note that you can also insert the symbol to remove text temporarily from what s being sung Then delete the 4 and WordBuilder will sing that text again The effect of the ends at the end of the curent line i e until the next carriage return which may be dif ferent from where the phrase automatically wraps to the next line The last color you might see is bright red for soloed words described on page 41 The image below shows the word fly soloed Chapter 4 WordBuilder 35 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT Typing Phonetically Its also possible to enter text using one of the phonetic alphabets You have a choice of either traditional Phonetics or WordBuilder s own Votox symbols Many users at the beginning may find it easier to use the traditional Phonet ics alphabet partly because the UI provides examples of English words that contain each symbol in the Phonetics alphabet Next to each symbol is an English word the capitalized letter in the word spells the sound of the pho netic symbol As shown in the 3 images at the left you can open the list of l
10. 11 pression by selecting one of the items Once you click OK the label changes to CC 11 You can likewise set the Control Code to 10 to control the pan or to any other standard MIDI CC value But do be aware that the Symphonic Choirs instruments do not respond to all Control Codes specify volume as the parameter being affected select x Note Volume in the Control Change dialog box as shown in the image at the left The thin lines within the colored bars control the value of the specified MIDI control code You can double click anywhere along the line to create a new node shown as a mall square You can also delete nodes by double clicking with the right mouse button in Windows or double clicking with the Command button held down on the Mac Then drag the node with the mouse to create increases and decreases in the value The image at the right shows Volume doing a sudden dip and then rising while CC 11 rises from 0 to about 70 of the maximum where it stays The line is a visual representation of an envelope for either the volume or a MIDI Control Code When dragging a node small Tool Tip rectangle opens to show its exact location This feature allows you to control both the time Chapter 4 WordBuilder 43 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT in milliseconds coordinate and value y coordinate on scale from O to 127 of each node as you position it To h
11. If you open the Instr ment drop down in the upper right comer you will see all the currently open instruments They work together to play the phonetic sounds it takes to generate sung words When you make any change to one of the instruments in the controls described below it is important that you make the same change to the other instruments in the multi For ample f you pan left the instrument on MIDI channel 1 and do not repeat that change on the other instruments in the multi when you play a phrase in WordBuilder you may hear some of the phonetic letters sung in the center and others sung from the left Master Controls The Master controls are presented in a strip along the right side of the EWOLSC interface They affect the overall output for the selected voces Channel Source In the upper right corner is the Channel Source drop down list Use this list to choose how you want to use the two stereo channels of the output Stereo uses the two stereo channels as they were originally recorded with no added processing 0 Sum combines the left and right channels into an output that is identi cal in both channels approximating the sound of a single microphone at the center of the stage From Let copies the left channel of the audio to the right output chan nel discarding the audio from the right channel 1o From Right copies the right channel of the audio to the left output chan nel discarding t
12. do not over add the Surround samples alittle in the mix may be you need Those looking for other types af recordings film scores audio tracks for games ete should feel fee to experiment Surround Sound Mixing This discussion focuses on the most popular format 5 1 but the guiding principles ap ply to other standards as well Here s a starting point for creating the 6 channels you need to create a 5 1 recording Feel free to experiment with variations Front Center Take either the left or right signal from the stereo Close ics but not both left and right Use this to create the immediacy needed for the front center Front Left amp Right The Stage mics left and right are assigned to the front speakers left and right Add in a little of the Surround mics here for alusher overall sound Rear Left Right The two rear channels accept input from the two stereo Surround mics exclusively Use your judgment about how much signal to send here based on the type of recording you re creating LFE Unless you re creating a mix for a hardware environment with a discreet LFE chan nel the system that plays your music can best determine its own crossover frequency between the sub woofer and the other channels based on the characteristics of the hard ware Therefore of the music from the libraries should be added to the LFE channel Only non musical effects such as explosions and dinosaur footsteps should be added to
13. ALLOW THE EXCLUSION OF IMPLIED WARRANTIES OR LIMITA TIONS ON APPLICABLE STATUTORY RIGHTS OF A CONSUMER SO THE ABOVE EXCLUSION AND LIMITATIONS MAY NOT APPLY TO YOU 8 Limitation of Liability TO THE EXTENT NOT PROHIBITED BY LAW IN NO EVENT SHALL EASTWEST BE LIABLE FOR PERSONAL INJURY OR ANY INCIDENTAL SPECIAL INDIRECT OR CONSEQUENTIAL DAMAGES WHATSOEVER INCLUDING WITHOUT LIMITATION DAM AGES FOR LOSS OF PROFITS LOSS OF DATA BUSINESS INTERRUPTION OR ANY OTHER COMMERCIAL DAMAGES OR LOSSES ARISING OUT OF OR RELATED TO YOUR USE OR INABILITY TO USE THE EASTWEST SOFTWARE HOWEVER CAUSED REGARDLESS OF THE THEORY OF LIABILITY CONTRACT TORT OR OTHERWISE AND EVEN IF EASTWEST HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES SOME JURISDICTIONS DO NOT ALLOW THE LIMITATION OF LIABILITY FOR PERSONAL INJURY OR OF INCIDENTAL OR CONSEQUENTIAL DAMAGES SO THIS LIMITATION MAY NOT APPLY TO YOU In no event shall EASTWEST s total liability to you for all damages other than as may be required by ap plicable law in cases involving personal injury exceed amount of fifty dollars 50 00 The foregoing limitations will apply even if the above stated remedy fails ofits essential purpose 9 Export Contra You may not use or otherwise export or reexport the EASTWEST Software ex cept as authorized by United States law and the laws of the jurisdiction in which the EASTWEST Software was obtained In particular but without limitation the EASTWEST Software
14. Builder has received as many notes as there are match ing syllables Click on the OK button to return to the program s main interface Cancel discards the learned Information What you see after running the Learn operation depends on which option you selected Change Speed or Draw Only The Change Speed Option If you asked WordBuilder to Change Speed on the notes then the horizontal bands that represent each phonetic sound s duration in milliseconds will change For example consider lyrics that include the word sleep Before the learning process the Time Edi tor looks like this After the learning operation as shown in the following image the timing of the five Phonetic segments is quite different though the relative fraction of the overall time Chapter 4 WordBuilder 45 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT is preserved In the time line at the top the lighter blue interval is the duration of the note itself The dark red interval is the time for singing the consonants and glides that close the syllable In our example this takes place in the sixteenth note rest The very dark blue black shows where the next note starts And the 800 ms fer the main note is reduced toa little under 500 ms Tn this example the syllable is sung on dotted eighth note with a sie teenth note rest before the next note The tempo is 90 bpm If you do the math you ll see that the duration of a dotted eig
15. Carol Watchmen Angels and Demons light at the Museum and Young Victoria are few recent examples Nick founded Two Steps From Hell with Thomas Bergersen in 2006 www twosteptrombel com The journey as a composer has inspired Nick to record and program his own sounds samples Nick founded Quantum Leap Productions in 1997 and Quantum leap has since grown to be the world s top producer of high end virtual instruments A 13 year partnership with Doug Rogers and EastWest has yielded award winning software titles such as Stormdrum 1 and 2 Symphonic Orchestra Symphonic Choirs Silk RA Voices Of Passion Ministry Of Rock Gypsy Quantum Leap Pianos Goliath Hollywood Strings and many others Hollywood Strings 5 the culmination of years of experience and the input of a really strong and diverse team It is by far the best virtual instrument have been involved with Chapter 1 Welcome 4 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT Recording Engineer Prof Keith 0 Johnson Prof Keith O Johnson has spent over 30 years developing a reputation for innovative thinking technical achievement and musicianship which has elevated him to a postion in the audio industry occupied by only a handful of visionaries His intensive investigation of electronic behavior and acoustic perception have led most recently to his development with digital engineer Michael Pflaumer of the revolutiona
16. INSTRUMENT The 3 Mic Positions not available in the Gold Edition Much has been written about extra efforts of the East WestQuantum Leap team to record all samples from three separate microphone positions within the hal both in Symphonic Orchestra and Symphonie Choirs To understand how the three mic positions work let s perform quick thought experiment Imagine your Self in any large concert hall with an entire a capella chorus on the stage The diagram at the right shows the concert hall stage at the top with the letters indi cating the placement of the various mics First you re invited to sit directly in front of the tenor section while they sing their part What you hear ap proximtes the sound recorded in the Close mic posi tion The sound coming directly from the singers is much louder than the reflections off the walls and other surfaces that these reverberaions make up very small part of what you hear Nos you re placed in a chair at the very front of the stage or maybe the front row of the house and you listen to the same tenor melody Now you hear mare of the natural reverberation of the hall because your ears are not so overpowered by the sound coming directly from the chorus This sound is captured by the Stage mics also called Far mics hence the F in the diagram a cluster of microphones near the front of the stage Finally you re asked to sit nearer the back of the house and high up maybe in the
17. INSTRUMENT Welcome About EastWest EastWest www soundsonline com has been dedicated to perpetual innovation and un compromising quality setting the industry standard as the most critically acclaimed producer of Sample CDs and Virtual software Instruments Founder and producer Doug Rogers has over 30 years experience in the audio industry and is the recipient of many recording industry awards including Recording Engineer of the Yea In 2005 The Art of Digital Music named him one of 56 Visionary Artists amp Insiders in the book of the same name In 1988 he founded EastWest the most criti cally acclaimed sound developer in the world and recipient of over 50 industry awards more than any other sound developer His uncompromising approach to quality and innovative Ideas have enabled EastWest to lead the sound ware business for 20 years In 1997 Rogers partnered with producer composer Nick Phoenix and set up Quantum Leap a wholly owned division of EastWest to produce high quality no compromise sample libraries and virtual Instruments Quantum Leap virtual instruments are mostly produced by Nick Phoenix Some of the larger productions such as Symphonic Orches tra Symphonic Choirs and Quantum Leap Pianos are co produced by Doug Rogers and Nick Phoenix As a composer Phoenix began scoring film trailers and television com mercials in 1994 To date he has either scored or licensed music for the ad campaigns of ever 1
18. If you hear notes being clipped check to see whether you need to raise this setting as described in the previous paragraph Setting the Voice Limit too high reserves unnecessary data buffers in RAM The total number of voice buffers that can be reserved is limited by the amount of computer mem ry RAM The larger the project the more likely it is you will run out of RAM in such cases you may want to check the Voice Limit of each instrument to determine whether you can reduce the value The image at the left shows the Voice Limit EEE spin control in the PLAY user interface set to 32 simultaneous voices It is also possible to modify this value in the Current Instrument Properties Pich Bend intenst 7 5 dialog box which can be opened from the main menu and selecting Current Instrument gt Advanced Properties The image at the right shows part of that dialog with the Voice Limit set to 40 Articulations Control This control is much larger and more prominent than in some other EastWest and Quantum Leap virtual instruments Where others show a maximum of 4 articulations at a time EWALSC hows up to 16 at once The first 3 columns within the Articulations control allow you to do the following tasks Activate and De activate an articulation Click in the first col umn a visible check mark means that the articulation da release the samples from computer memory and click again to reload them into memory Use this
19. PLAY You can think of WordBuilder as a module that inserts itself into PLAY and captures the incoming MIDI data before it gets to the main PLAY engine and the instrument you have opened Once WordBuilder has been inserted if modifies the incoming data in a major Therefore you need to remember the following important restrictions every time you insert WordBuilder An instance of PLAY that runs WordBuilder should not have open an instrument from any other PLAY library All data directed to this instance of PLAY on every MIDI Cchannel will be processed by WordBuilder Instruments from other libraries do not know how to interpret data from WordBuilder Any one instance of PLAY should have open only one WordBuilder multi That multi will open 6 or more instrument files which is OK But do not then attempt to open second muli If you re building a chair using several multis put each voce in its own instance of PLAY And that s true even if you want them to sing exactly same text as each other WordBuilder should not be used with the patches in the Instruments folder They are not designed to work with WordBuilder All these restrictions apply whether you are running PLAY as a standalone program or asa plug in inside a host Voices in Symphonic Choirs and WordBuilder A voice is the text to be sung by one vocal part and all the other timing and dynamic information the user enters in WordBuilder These various
20. Symphonic Choirs in PLAY 67 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT will give your work more natural musicality By combining velocity control expression Mod Wheel and volume you change digital samples into real living music Release Trails in Symphonic Choirs The EastWest Quantum Leap Symphonic Choirs is an ambient library complete with release trails for the Stage and Surround samples Note that the close C samples do not include release trails partly as a measure to conserve computer resources A small amount of artificial reverb can be added to make them mix appropriately with the other samples And because the close samples are the one with the least natural rever rela tive to the loudness of the sung notes the lack of release trails on this component should not significantly degrade the mix Release trails capture the sound of the hall from the moment the note ends As is evident in the Time Editor within WordBuilder Symphonic Choirs includes some of the phonetic content of a syllable in the release trails This is the small but non zero time it takes the singers vocal apparatus to close the syllable and may include the consonants at the end of the syllable And the release trails aso Include the natural sound of each note s decay within the ambient space of the concert hall The complex and subtle nature of the reflected sounds off the walls ceiling and other surfaces is nearly impossible to generate
21. The Draw Only Option Ifyou choose Draw Only mode when starting the Learn feature WordBuilder writes the length of notes and rests into the gray red and blue regions of the timeline at the top but does not change the actual lengths of the phonetic letters the colored bands next to each phonetic letter in the Time Editor You can then manually drag the ends of the bands to achieve the desired effect Chapter 4 WordBuilder 46 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT The above screen shot shows the Time Editor for the syllable sleep after running Learn Draw Only mode No manual adjustments have been made to individual segments The 3 colors in the time line have the same meaning as in Change Speed mode as de scribed above The last two segments are still timed to the Note Off event as seen by their position to the right of the double line If you want them timed to the Note On event then drag them into the left pane Their timings will change from negative values to positive ones Use the bands within the time line so you know where you replacing segments in relation to the end of the current note beginning of the dark red and to the start of the next note end of the dark red Whether to Use Learning This Learn function is a way to automate some of the precision work needed to adjust letter timings to match note durations It does not achieve with a single mouse click perfect enunciati
22. WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT Phonetic Alphabet with English Vowels PHONETIC ALPHABETS WITH ENGLISH VOWELS Phoneties Votar Phones Var a u moh m money Rammer ala copper wander e a gens aE Wim orange naughty uO brown mouse oF ol boy D bO fou oO yelow ocean ri C euet hk upper a A mime 1 rar athe either n ur purple owe 3 e ted steady js sie lace ri A Baek ater 1 wite e E E amni TI eme sit TF fhemuh U utendi n 0 tue poo E m vole ave D 0 wall awash E ems x X E fat SI flesh nation 1 j y y elim yonder x XBlack coat 1 mm poison 1 IO Mes vision azure Chapter 7 The Phonetic Alphabets T EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT Phonetic Alphabet with Latin Vowels PHONETIC ALPHABETS WITH LATIN VOWELS Phoneties Vator Phonetics Votar a A money rough m m muy hammer a a copper wander nO peen sag 3 fo o orange naughty Au Mu brown moe 01 a ull boy D b Ou ar plow cesar ri ehh Hk upper a r mir purpe lower e m sexy Ser lace al Baek afer Twila ue E E fi T ene st FO emh Up could n u hiwe poo le nnn v lve ave
23. accurately after the fact with an artificial reverb The release trail samples are triggered by the MIDI Note Off event Their parameters can be adjusted in PLAY or even turned off if you vant The release trails are amplitude matched to the wave form of the playing note no matter Where the playback is in the AHSDR envelope when the note ends The software analyzes the amplitude of the note s waveform at the time of the Note Off event then activates he release trail automatically adjusting the release trail amplitude so the two samples blend seamlessly The result is very natural Panning Panning is not usualy necessary Every section in the bay has been recorded in its proper pace on stage using custom equipment bult by recording engineer Prof Keith O Johnson The ful and sunound ambience releet the positioning precy sopranos on ihe laf down to basses on the gh a on a typical concert hal stage The close mics do not reflect the positioning on stage because they are close to each section or soloist These have been pre panned in programming to match their true place stage You will notice that the close mics have panning values and the full and sur round mics do not You can of course easily change any panning setting but to do so make less realistic the apparent natural positioning of the singers within the concert Chapter 6 Using Symphonic Choirs in PLAY 68 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL
24. assist the memory When setting text in languages other than English or with pseudo words like be bop a doo one must specify the sounds in one of the two phonetic alphabets listed above WordBuilder appears in separate screen within the Ear PLAY window whether you re working in the plugin or in the standalone version The Player view for the Choirs UI only includes a button near the top that can take you to the WordBuilder page WordBuilder is describes in more detail later in this manual Chapter 2 Symphonic Choirs An Overview 15 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT What s Included This EastWest Quantum Leap Symphonic Choirs Virtual Instrument you purchased in cludes the following a complete set of sample based instruments enumerated later in this manual for the Original Edition approximately 38 5 Gigabytes of 24 bit 44 1 kHz samples or the Gold Edition approximately 9 3 Gigabytes of 16 bit 4 1 kHz samples the EastWest PLAY Advanced Sample Engine the unique authorization code that identifies the license you bought manuals in Adobe Acrobat format for both the EastWest PLAY System and the East West Quantum Leap Symphonic Choirs Virtual Instrument an installation program to set up the library software and documentation on your computer Authorization Wizard for registering your license in an online database For those users who install The Symphonic Choirs E
25. automation it can record your movements of the knob or slider and save them as part of the project Such manual control over the shape of vocal line is usually mare efficient than drawing in an envelope and often achieves more convincing results EastWests and Quantum Leap s choice to use C011 allows CC7 volume to be used in other ways For example you can use the volume slider in your se Quencer to adjust the overall volume level of each track in the mix The ability to do this is especially helpful when using more than one mic position If you want to experiment with how much Close Stage and Surround mics for a given choral section or solo Chapter 6 Using Symphonic Choirs in PLAY 66 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT ist to include record them in different audio tracks and then use CC7 to do adjust rela tive overall volumes CC 1 is somewhat independent of CC7 and can adjust dynamics to shape phrases within the tracks Although the volume and expression controls can be adjusted separately the volume set ting does change how expression affects perceived volume Think of CC7 as setting an upper limit on the dynamics at any moment as in the diagram at the right Expression Tike most continuously changeable values in MIDI takes values between O and 127 CC7 specifies how loud a sound to generate for the maximum value 127 and for other 11 values proportionately MI
26. compares the two sets of Votox vowels First the table of simple vowels Note that in the first three rows the English and Latin versions of the vowels are the same In the rest of the rows they differ Chapter 7 The Phonetic Alphabets 75 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT VOTOX VOWEL COMPARISON lat E maney rough Ted steady orange au mone rough Mack ar des finger never used alone only diphthongs pool blue And here is the table of diphthongs the sounds made up of two vowels sounds in a row VOTOX VOWEL COMPARISON English Mode Example English words Wit sigh w own mouse E T ay sate E green di E ri i boy w yellow ocean ur 8 purple lower Because ofthe close relationship between the symbols of the Phonetics and Votox al Dhabels you should only need to learn The EWGLSC team recommends always us ing Votos sounding out the words to achieve the desired sound Use the ther two modes to help you learn Voto but once mastered Votox gives you mare direct control because you re working in the same alphabet as WordBuilder with no conversion necessary The tables are on the next two pages positioned one per page in case you want to want to print out a page to use as a reference guide while you learn your phonetic alphabet of choice Chapter 7 The Phonetic Alphabets 76 EAST
27. detailed collections users expect today His recent productions are Symphonic Orchestra awarded a Keyboard Magazine Key Buy Award EQ Magazine Exceptional Quality Award Computer Music Magazine Perfor mance Award and G A N G Game Audio Network Guild Best Sound Library Award and Symphonic Choirs awarded Electronic Musician 2006 Editor s Choice Awar G AN G Best Sound Library Award and Keyboard Magazine Key Buy Award Most recently his productions include Quantum Leap Pianos the most detailed virtual piano collection ever produced and Fab Four inspired by the sounds of the Beatles MLPA Winner and judged the most innovative instrument by 100 music magazines Over the last decade he has partnered with producer composer Nick Phoenix and set up the Quantum Leap imprint a subsidiary of EastWest to produce high quality no com promise virtual instruments EastWest Quantum Leap virtual instruments are considered the best available and are in daily use by the who s who of the industry Chapter 1 Welcome 3 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT Producer Nick Phoenix Nick began scoring film trailers in 1994 To date he has scored or licensed music for the ad campaigns of over 1000 major mation pictures Star Trek Tron Percy Jack son Twilight 2012 WALL E Indiana Jones 4 Harry Potter 6 Inkheart Tales Of Despereaux 300 A Christmas
28. either within a nate or over a phrase in which more vibrato is added at the same time as the volume increases See more information about specific insti ments later in this manual starting on page 82 This description focuses on using WordBuilder to send the Mod Wheel data but of course you can also send this data from the keyboard or the Sequencer send Mod Wheel Control Changes you first need to sat up an envelope on any phonetic segment affected which usually means on vowel Click on the small plus sign to the right of the Votox letter in the Time Editor A new lane wil open with a button for selecting the Control Change number The default setting is Volume as shown in the image at the left Chapter 4 WordBuilder 49 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT Click on the hyperlink titled Vol to open the small dialog in the image at the right Select 1 Modulation Depth from the drop down list Click on OK to effect the change The orange link now says CO 1 Or if you want to keep the Note Volume bar and add Mod Wheel bar as well then click on the small plus sign There s a graph inside the long box to the right as shown in the image after this para graph You can create new nodes by double clicking with the left mouse button and drag nodes with the mouse You can also delete nodes by double clicking with the right mouse button in Windows or double clicking wi
29. first Normal Eremrermmesssse si Hold on first vowel lets you use the default settings That is it removes any adjustments previously made to the sy lable It also removes any Control Changes that had been e applied It has the same effect as removing syllable and adding it in again y The second option Learn Compresslexpand by learning is grayed and not available unless the Leam functionality has already been applied lo this syllable It is useful when a syllable has been earned in Draw Only mode Select ing this option and clicking Okay completes the action that would have been done had Learning been done in Change Speed mode You might also use this after changing a word in the text leaving the notes as they are but changing nice to sweet for ex ample and you want WordBuilder to learn timings for the new phonetic segments The third option is Adjust Speed If selected the controls below it become active In the left drop down list you can choose whether to apply changes to only the On pane Ihe left half of the Time Editor only the Off pane both panes The right text box allows you to enter a number that specifies ow long the new notes should be compared to the old Setting it to 50 cuts all lengths in half Setting it to 250 makes all dura tions 2 5 times as long as before a bar that beforehand lasted ms now lasts 200 ms 80 times 2 5
30. internal MIDI channel assignments you may expect to hear for example z sound on the note but what you get may be an entirely different sound on an entirely different note Like most other instruments in the EastWest PLAY System libraries the choirs do con tain multiple articulations selected by keyswitch Each of the multis except Boy Sopra nos provides a choice among 4 separate articulations normal a natural attack legato a fast smooth attack staccato short level 3 velocity slurred subtle and quick sliding up to the pitch These articulations are selected in the WordBuilder UI and therefore they are described in the chapter call Using WordBuilder in a section called Controlling Segment Trans tions with Articulations starting on page 39 The Boy Soprano multis contain only 2 articulations normal a natural attack legato a fast smooth attack Chapter 8 Instruments Articulations and Keyswitches 1 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT Tables of the Multis in Symphonic Choirs The following tables list the names of the multis and brief description of their sounds The names that include HARD MOD SOFT MOD and DYN MOD warrant further explana tion than what fits in the tables DYN MOD multis are a 3 way dynamic cross fade soft through medium to hard with more detail in the two items directly below HARD MOD multis are 2 way dynamic betwe
31. is a single sound per instrument usually Examples sounds as well as Individual consonants and vowels There are also some shouts whispered words and other effects See the list of instruments stating on page 84 for more details These patches are grouped in 7 subfolders if you have a license for the Choirs Ex pansion The image on the next page shows these 7 subfolders as they appear in the Browser These 7 groups include the 4 standard choral sections Sopranos Altos Tenors Basses a Boys choir a Full Chorus men and women together Soloists a Soprano an Alto a Boy The Muttis folder contains the patches that Use and require WordBuilder to create sung speech The patches are not really useful on their own the notes within these patches are designed to be called from WordBuilder as specified by the WB in the name These patches are grouped in 6 subfolders 7 if you have license for the Choirs Expan sion The image below shows these 6 subfolders as they appear in the Browser Chapter 2 Symphonic Choirs An Overview 14 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT These 6 groups include 4 standard choral sections Sopranos Altos Tenors Basses a Boys choir separate Women s Choir and Men s Choir The Women voice type creates a single range of female voces using the Alto samples at the bottom and Soprano samples at the top Likewise the Men voi
32. is that if you want two concurrent legato lines or one legato and one non legato line sung with the same voice you need to open the same voice type more than once and turn on the Legato script where appropriate Of course the same rule holds for the Portamento script Release Trails with Legato and Portamento Scripts When either of these two scripts is turned On release trails for that articulation are automatically turned off leave them on might interfere with the portamento andlor legato effect Because the release trails will be tumed off you may then want to tur on some reverb the choice of ane of the EW convolution reverbs in the PLAY engine will most closely match the natural reverb of the rest of the library Repetition Script When singing consecutive notes of the same pitch the use of a single sample over and over in quick succession can sound mechanically identical which is called the ma chine gun effect The Repetition script solves this problem For any voice file this scrip uses one or more of three randomly selected options to keep the sound a little different each repetition Use the sample for a nearby note for example a half step higher or lower and retune it to the needed pitch Start the note a tiny amount before or after the specified start time Detune the sample a few cents hundredths of a semitone higher or lower This variability gives the sound a more human less
33. may not exported or reexported a into any U S embargoed countries or b to anyone on the U S Treasury Department s list of Specially Designated Nationals or the U S Department of Com merce Denied Person s List or Entity List By using the EASTWEST Software you represent and warrant that you are not located in any such country or on any such list You also agree that you will not use the EASTWEST Software for any purposes prohibited by United States taw includ ing without limitation the development design manufacture or production of missiles nuclear chemical or biological weapons License Agreement 94 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT 10 Government End Users The EASTWEST Software and related documentation are Commer cial Items as that term is defined at 48 C F R 2 101 consisting of Commercial Computer Software and Commercial Computer Software Documentation as such terms are used in 48 CFR 12 212 or 48 C F R 227 7202 as applicable Consistent with 48 C F R 12 212 or 48 CER 227 7202 1 through 227 7202 4 as applicable ware and Commercial Computer Software Documentation are being licensed to U S Government end users a only as Commercial Items and b with only those rights as are granted to all other end users pursuant to the terms and conditions herein Unpublished ights reserved under the copyright laws of the United States 11 Controlling Law and Severability This Lice
34. other edition that difference is noted The Gold Edition has two main differences from the Original Edition Gold uses 16 bit samples while Original uses 24 bit samples Gold is limited to a single microphone position the Stage mics while Original in cludes 3 positions Close Stage and Surround Please note the Choirs Expansion Instruments are not available to Gold Edition users If you own only a Gold Edition license and are interested in the Choirs Expansion instru ments described later in this manual you must first upgrade to the Original Edition of Choirs Recording Notes EWOLSC is a sample library that can produce full multi channel sound like that from a good recording session in a concert hall The user can manipulate multi channel files within each sample to move a section of the choir create fully diffused or highly focused sound as well as offstage effects that have the same acoustic character as having mi rophones on stage and mixing them Each choir sample contains high resolution components recorded in a state of the art concert from microphone groups placed to achieve close fll and ambient sound In the Gold Edition only the Stage mic those that give the ull sound are included Microphone placement is modeled after traditional Decca setups The choir and solo ists are placed on stage as they would perform so that signals from these microphone groups can be mixed and have the general t
35. represents The sounds in WordBuilder and Symphonic Choirs are based on the sound of natural speech not the way words are spelled on a page Therefore WordBuilder uses a pho netic alphabet to notate the sounds that will be sung The Votox phonetic alphabet was designed specifically for the task of representing the sound of sung words This chapter presents what you need to know about Votox to help you get the most out of WordBuilder Lists of The Phonetic Symbols The tables on the next few pages list the symbols from the Phonetics alphabet and com pare each one to the corresponding Votox symbol Two English words ae provided to give examples of each symbols sound There are two table because WordBuilder provides two sets of Votox symbols that differ only in their vowels In the Options dialog box the user has a choice between English Mode and Latin Mode see page 57 The choice does not affect the sounds only the symbols used to represent those sounds in Votox Speakers of Romance languages may feel more comfortable using Volox in Latin Mode as the symbols more closely re fect spellings in Romance languages English speakers will most likely prefer the Eng Tish symbols In the Vowel Comparison table below read aloud each of the words in the right most column and decide which of the vowels to the left seems more natural to you Then work in the mode Le the column that most often felt more correct Here are two tables that
36. the boys choir samples The Boy Sopranos vocal effects are a different list than for the adults See the following table The consonants are identical to those of the adult choirs The sample set includes the following four vocal effects for the boys choi EFFECTS File name jescription of the effects BOYS cluster ses on various vowels and nand n sounds BOYS staccato The ah flab sung staccato BOYS ol slur DXF The oh syllable with a small upward slide atthe start BOYS shots Various group shouts Expansion only Instruments not in Gold Edition These instruments are not available in the basic Symphonic Choirs library You pur chase this separate add on which requires its own license When you install the Choirs Expansion product and run the authorization routine an extra subfolder appears in the Chapter 8 Instruments Articulations and Keyswitches 87 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT Instruments folder s shown below Its called Vota which stands for Voices of the Apocalypse These samples were originally released in an EastWest product of that name The instruments in this folder are of two type An gels and Demons These choirs sing only vowel sounds so they cannot be used with WordBuilder are a choir of Sopranos singing the ahy oh and oo They have an an eli clarity especially when they sing above orchestral instruments
37. this track directly Note that this is a change from earlier advice about sur round sound mixing Chapter 6 Using Symphonic Choirs in PLAY 72 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT If you are writing for specific hardware that does not provide its own crossover then use the older advice as follows The low frequency and effects channel should be pulled from a mix of the other channels that is the relative volume of the various mics including any time delays and EQ applied separately to discreet channels should be proportionally applied to the LFE channel Be sure you use crossover fter that removes from the other 5 channels the exact same range of frequencies added to the LFE Not excluding the low frequency sounds from the other channels results in inappropriate doubling of those frequencies Chapter 6 Using Symphonic Choirs in PLAY 73 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT 75 How WordBuilder Uses Phonetics 77 Phonetic Alphabet with English Vowels 78 Phonetic Alphabet with Latin Vowels Click on this text to open the MasterNavigationDocument 74 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT The Phonetic Alphabets How WordBuilder Uses Phonetics This chapter of the manual compares the various phonetic alphabets available with WordBuilder 1t also provides examples of English words that use them to assist the reader in understanding the sound each symbol
38. three text layers appears in the Tex Editor Click on of the other two buttons to change the text display to that mode These are called layers because all three versions of the text are always available but only one layer at a time is brought to the top in the Text Editor window where it becomes visible When you type English words in the English layer WordBuilder automatically translates any word it finds in its 100 000 word dictionary into the other two layers though they remain hidden until revealed by clicking on the button for that layer When you type correctly formatted text into either the Phonetics or Vator layer it gets translated into the ther of those two but not into English Typing English When English words are typed into the Text Editor they are color coded to indicate their status medium blue the word was found in the dictionary Mark blue the word has more than one entry in the dictionary this happens when the word can be pronounced in two or more ways ark red the word was not found in the dictionary i it is misspelled corect it or if itis mot a common word you will need to enter the word phonetically ight blue the word was typed into the Phonetics or Votox layer and is displayed here phonetically even in the English layer Chapter 4 WordBuilder 34 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT ark red there is an eror in syllable separation or WordBuilder can
39. upper two thirds of the dynamic range in DYN MOD From medium volume with medium vibrato to loud volume with heavy vibrato The first of these gives you the most flexibility to adjust volume with the Mod Wheel through the entire gamut of recorded dynamics so it requires the most computer power and resources The other two options use less memory and therefore may be better choices on hardware constrained systems Chapter 6 Using Symphonic Choirs in PLAY 62 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT There are of course other ways to contol dynamics including MIDI velocity and expres sion parameters These controls are discussed later in this chapter There two main advantages of dynamic cross fades OXF over other means Fist a DXF controls not only the volume but also the timbre of the sound The sound of soprano section singing loud is different from them singing softly even if the volume knob on the stereo is adjusted to normalize their output level Because DXF is shifting between samples and not only changing the volume that change in timbre is preserved As mentioned above the vibrato also Increases as the volume goes up Second unlike velocity which is fixed for the entire duration of any given MIDI note the position of the Mod Wheel can be adjusted continuously to achieve swells and other expressive details mid note Performance Scripts Symphonic Choirs includes three built in scrip
40. whether on disk read only memory on any other media or in any other form collectively the EASTWEST Software are licensed ot sold to you by EAST WEST SOUNDS Inc EASTWEST for use only under the terms of this License and EASTWEST reserves rights not expressly granted to you You own the media on which the EASTWEST Software is recorded but EASTWEST and EASTWEST s licensors retain ownership of the EASTWEST Software itself The terms of this License will govern any EASTWEST Software upgrades provided by EASTWEST that replace and or supplement the original EASTWEST Software product unless such upgrade is accompanied by a separate license in which case the terms of that license will govern Tile and intellectual property rights in and to any content displayed by or accessed through the EASTWEST Software belongs to the respective content owner Such content may be protected by copyright or other intellectual property laws and treaties and may be subject to terms of use f the third party providing such content This License does not grant you any rights to use such content nor does it guarantee that such content will continue to be available to you 2 Permitted License Uses and Restrictions A Subject to the terms and conditions of this License you are granted a limited non exclusive license to install and use one copy of the EASTWEST Software on one computer You will be required to purchase authorize and use a Pace i
41. 000 major motion pictures including Terminator 3 Lord of the Rings Return of the King Harry Potter 5 Wall E Star Wars Episode 2 Spiderman 3 Pirates of the Carib bean 3 Blood Diamond Night at the Museum 300 and The Da Vinci Code Quantum Lean has now firmly established itself as of the world s top producers of high end sample libraries and virtual instruments Chapter 1 Welcome 2 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT Producer Doug Rogers With over 30 years experience in the audio industry founder and producer Doug Rogers isthe recipient of over 60 industry awards more than any other sound developer His uncompromising approach to quality and innovative ideas have enabled EastWest to Jead the sound ware business for more than 22 years The Art of Digital Music named im one of 56 Visionary Artists amp Insiders in the book of the same name He released the very first commercial Drum Samples CD in 1988 and followed it with the multiple award winning Bob Clearmountain Drums sample collection which he co produced In the years that followed he practically reinvented the sound ware industry EastWest introduced loop sample libraries to the market in the early nineties followed closely by the first midi driven loops collection Dance industrial He released the first ibrary to include multiple dynamics followed by the first sample library to stream from hard disk an innovation that led to the
42. AST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT Tiy this Boost the Close mics up to 6db bell shape with a fairly wide Q between 5K and 10K Then roll off the frequencies below BOOHz so you are down about 10db at SOH2 Then mix the Close track into the Stage track at a low volume to add clarity and sheen to the stage mics Be careful nat to use too much of the close mics with this EQ curve Other styles may sound just right using an equal blend of all ambiences The idea is to experiment until you find combination that works Various Ways to Combine the Samples not in the Gold Edition Using Close and Surround Mics Sparingly possible approach when using EWOLS to create a stereo mix is to use primarily the Stage mics and then blend in just enough of the Close samples to provide more imme diacy plus enough of the Surround samples to create a more natural reverb to the overall sound There s no reason to keep the mix constant for the duration of the piece Maybe you ll want to add in a little extra Close mics to a section that has the most important rics at the moment Or give the altos the extra punch to stand out when they carry the melody or push up the Surround perspective to make the chorus of townspeople sound more distant when they first arrive on the scene Use your ear and your imagination to find the best mix for both you and the piece you re working on Blending All Three Mics Another approach is to create thr
43. DI Envelopes and Control Data Most modern sequencers let you draw an envelope for the most common MIDI control codes The diagram with the light colored curve at the end of this paragraph is an ex ample of an envelope for C11 Notice how the values are constantly changing the way a singer modulates his or her breath and tone to shape the musical line The horizontal lines near the top are the notes When saved as MIDI data this same envelope appears as a finite set of commands In sequencer track these often appear as vertical lines each line being a command to change the value in this case to change 11 The other way and many say the better way to send CC11 events to the sample player is with a MIDI controller ether a keyboard or a control surface As long as you have an extra hand or foot if you use pedal you can enter these control codes while playing the notes into the sequencer This allows you to hear the interchange among the notes their velocities how hard you re hitting the keys and the expression being added with cell This process can also be done in two passes notes first then control data if your setup allows you to record automation data to a track that already contains other MIDI data Everything written about in this section also applies to Mod Wheel and all MIDI control codes Learning to shape musical lines the same way a singer does Chapter 6 Using
44. Library The EastWest Quantum Leap Symphonic Choirs virtual instrument is the result of years of planning scoring recording editing and programming by over 100 creative profes sionals Our goal was to create a Symphonic Choirs virtual instrument that would blend perfectly with the multiple award winning EastWest Quantum Leap Symphonic Orches ra and could be reproduced in surround sound recorded where choirs and orchestras sound most natural in state of the art concert hall First we had to find the right team to execute the plan To capture the sounds we needed someone with an impressive history of recording choirs and orchestras lve The answer was Prof Keith O Johnson His 90 plus recordings have long been considered the standard for high fidelity and include two Grammy award winners and eight ad ditional Grammy nominations All of the recording equipment used in the project was either hand built or extensively modified by him to optimize fidelity Prof Keith O John son had previously recorded EastWest Quantum Leap Symphonic Orchestra so it was an obvious choice Next had to find the right concert hall in which to record EWGLSC Fortunately his experience was invaluable here as well He had recorded in most of the critically ac claimed concert halls throughout the world and had a short list of favorites After the success of EWOLSO we decided to use the same concert hall to record EWOLSC Once the recording was comp
45. Lok security key not included to access the EASTWEST Software You may not make the EASTWEST Software available over a network where it could be used by multiple computers at the same time You may make one copy of the EASTWEST Software in machine readable form for backup purposes only provided that the backup copy must include all copyright or other proprietary notices contained on the original License Agreement 91 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT Except as otherwise indicated you may use the EASTWEST and third party audio file content including but not limited to the EASTWEST loops built in sound files samples and impulse responses collectively the Audio Content contained in otherwise included with the EAST WEST Software on a royalty free basis to create your own original soundtracks for your film Video and audio projects You may broadcast andor distribute your own soundtracks that were created using the Audio Content however individual EASTWEST loops audio files sound set tings samples and impulse responses may not be commercially or otherwise distributed on standalone basis nor may they be repackaged in whole or in part as audio samples sound files sound effects or music beds The usage of the Audio Content in particular samples instruments and presets for the creation of a sound library or as sound library for any kind of synthesizer virtual instrument Sample librar
46. NTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT The EWQL Symphonic Choirs User Interface Each library presents its own interface when one of its instruments is the current one as specified in the Instruments drop down in the upper right corner The image at the bottom of this page provides an overview of the entire window in Player View when the current instrument is from the Symphonic Choirs library Much of this interface is shared by PLAY System libraries and the common features are described in the PLAY System manual The Chois specifie controls described later in this section are those listed on the next page If you don t see a control described in this chapter look at the PLAY System manual that s the other manual installed on your hard drive during program setup MULA Chapter 3 The EWQL Symphonic Choirs User Interface 18 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT The controls described in this manual are Channel Source Tune Master Pan Volume Mute Solo and Audio Channel Output Microphones limited use in the Gold Edition Performance Portamento Repetition Legato and Round Robin Reset Stereo Double Reverb Master Voice Limit Articulations the graphical representation of the Envelope Important Note for the Multi Choirs Anytime you open an instrument from the Multi folder in the Symphonic Choirs browser PLAY opens more than one up to 6 or even 12 instruments
47. Panic button turns off every MIDI note on every channel within this instance of PLAY This is an effective way to tur off a stuck note if for any reason the sample player does not receive MIDI Note Off message and a note starts playing indefinitely The Options button displays dialog box in which the user can set values relating to timers voce defaults events and general data See page 57 for more detail on this dialog box The Phrases button opens menu that allows you to man EN age a list of reusable phrases or to select a phrase to insert RM in the Text Editor Note that in the image the option My f twin French Phrases is grayed because it does nat currently con tain any phrases That folder will not appear in your menu unless you add it See more information about this feature below Using a Library of Phrases if here are phrases you plan to use more than once WordBuilder provides a way to store in a phrase fle on the hard drive all the information about the phrase phonetic letters timing cross fades and so on The phrase can then be quickly recalled each time its needed without having to reconfigure al the settings Chapter 4 WordBuilder 51 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT Phrases can be organized into folders in any way you like In the dialog box shown at the left which opens when you select Add to Phrases from the pop up menu the Create In control displays a lis
48. RTUAL INSTRUMENT MENS HIRD MOO_2 way vibrato Mod Wheel rosa MENS W SOFT MOD 2waymm viritlitrto Mod Wheel css ade in Gold Edition These multis are not available in the basic Symphonic Choirs library You can purchase this separate add on wich requires its own license When you install the Expansion Module and run the authorization routine an extra subfolder appears in the Multis folder as shown at The eft Es called Vota WB which stands for Voices of the Apocalypse These samples Were originally released in an EastWest product of that name Expansion only Multis not Within Symphonic Choirs these Vota samples are added to the hard Men s and Women s choirs to add the option of very loud vowels fff with extra vibrato Keep the Mod Wheel near the bottom of its range to hear sound lke the basic Men s and Women s hard choirs or push the Mod Wheel up to incrementally increase the loud ness and vibrato MENSWBVOTASC 2wayvirat Mod Wiel 146 moderate to very kud WOMENS WE VOAS _Zway vibrato Mod Whel 146 moderate to very kud Note that the Expansion samples are only available with the Stage mics not the Close oF Surround mies Memory Considerations When Choosing Mul Note that the DYN MOD multis use large amount of memory and therefore require a high powered computer Use other multis DYN SOFT or DYN HARD when dynamic cross ading from the softest to the loudest is not cruc
49. S WS SOFT bray plane Full Men s and Full Women s Choruses Symphonic Choirs creates a voice type known as Women by using the Altos samples for the lower haf of the range and Sopranos samples for the upper half If you load this voice type in WordBuilder and PLAY you have a single voice that can sing notes over a range of F2 to ES almost 3 octaves Likewise a voice type of combines Bass and Tenor samples to create a voice that covers the notes from BO to D4 more than 3 octaves As you might expect there is a somewhat discernible change in timbre at the point near the middle of the range where the underlying voice type changes so evaluate whether this will be a problem for your project before deciding to use either Men or Women as a voice type EastWest achieves this wider range by using 12 MIDI channels instead of the 6 channels for the other voice types And note that Men and Women use special range restricted versions of the instruments for Sopranos Altos Tenors and Basses This smaller range makes sure for example that each note in the Men s voice type plays either a Tenor sample or a Bass sample but not both These two types of multis available in the folder Mens and Womens WB WOMENS WE HARD MOD 2 way vibrato Mod Whel rosa WOMENS WE SOFT MOD 2 way mon vibratolyibrato Mod Whee css fade Chapter 8 Instruments Articulations and Keyswitches EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VI
50. TH RESPECT TO THE EASTWEST SOFTWARE EITHER License Agreement 93 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT EXPRESS IMPLIED OR STATUTORY INCLUDING BUT NOT LIMITED TO THE IMPLIED WARRANTIES ANDIOR CONDITIONS OF MERCHANTABILITY OF SATISFACTORY QUALITY OF FITNESS FOR A PARTICULAR PURPOSE OF ACCURACY OF QUIET ENJOYMENT AND NON INFRINGEMENT OF THIRD PARTY RIGHTS EASTWEST DOES NOT WARRANT AGAINST INTERFERENCE WITH YOUR ENJOYMENT OF THE EASTWEST SOFTWARE THAT THE FUNC TIONS CONTAINED IN THE EASTWEST SOFTWARE WILL MEET YOUR REQUIREMENTS THAT THE OPERATION OF THE EASTWEST SOFTWARE WILL BE UNINTERRUPTED OR ERROR FREE OR THAT DEFECTS IN THE EASTWEST SOFTWARE WILL BE CORRECTED YOU FUR THER ACKNOWLEDGE THAT THE EASTWEST SOFTWARE 15 NOT INTENDED OR SUITABLE FOR USE IN SITUATIONS OR ENVIRONMENTS WHERE THE FAILURE OF OR ERRORS OR INACCURACIES IN THE CONTENT DATA OR INFORMATION PROVIDED BY THE EASTWEST SOFTWARE COULD LEAD TO DEATH PERSONAL INJURY OR SEVERE PHYSICAL OR ENVI RONMENTAL DAMAGE INCLUDING WITHOUT LIMITATION THE OPERATION OF NUCLEAR FACILITIES AIRCRAFT NAVIGATION OR COMMUNICATION SYSTEMS AIR TRAFFIC CON TROL LIFE SUPPORT OR WEAPONS SYSTEMS NO ORAL OR WRITTEN INFORMATION OR ADVICE GIVEN BY EASTWEST OR AN EASTWEST AUTHORIZED REPRESENTATIVE SHALL CREATE A WARRANTY SHOULD THE EASTWEST SOFTWARE PROVE DEFECTIVE YOU AS SUME THE ENTIRE COST OF ALL NECESSARY SERVICING REPAIR OR CORRECTION SOME JURISDICTIONS DO NOT
51. The EWQL Symphonic Choirs User Interface 21 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT ing message that these controls are not functional in the Gold Edition You can adjust the Stage mic controls but it s recommended to use only the Master controls at the right of the user interface instead of having the panning or the gain affected by two sets of controls If you own a license for Gold only you can skip the rest of this section When EastWest Quantum Leap recorded the voices in Symphonic Choirs it used three of microphones in different parts of the concert hall Dose directly in front of each choral section Stage centered at the front of tho stage Surround high above the back of the house Details about the three microphone positions are provided starting on page 69 The Microphones controls shown at the right with an Output drop down list open allow the user to select the microphones from which to use the recorded audio and how to mix them when generating audio tracks The knobs at the top can pan the audio separately within the sound space The volume sliders can adjust the individual loudness of each microphone in the mix The three lights above the word Loaded indicate whether the samples for that microphone position have been loaded Clicking way On any of the lights toggles it loading or unload T2515 7 ing the indicated samples from memory Note us that when you click
52. WordBuilder application in its own window in what s called Legacy Mode it is exactly the same program that runs when you open WordBullde inside PLAY To do so open PLAY and WordBuilder as you used to and use the same means to connect he two programs as you used to Do not click on the WordBullder button in PLAY s user interface You can run WordBuilder in Legacy Mode for both standalone and sequencer projects For documentation about running in Legacy Mode continue to use the manual you received with the orginal version of Symphonic Choirs or contact EastWest customer support to receive the older manual WordBuilder Runs Within the PLAY Window Starting with PLAY versio released in September 2010 the WordBuilder usr interface and the Symphonic Choirs user interface both run in the same window You can move back and forth between these two Uls with the WordBullder and Player buttons near the top of the window as shown below Chapter 4 WordBuilder 30 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT If you do not see the WordBullder button in the Symphonie Choirs UI go to the Updates page on the www SoundsOnline com website to acquire the latest version of PLAY software It does not matter whether PLAY is running in standalone mode on the desktop or inside sequencer either way whenever the Symphonic Choirs interface is visible you can pen WordBuilder with the WordBuilder button How WordBuilder Interacts with
53. XF CO DHO yellow ocean o BASS eu DXF CODD put could BASS ah DF CO DIO capper wander Note that none of the effects listed below is available in WordBuilder To generate one you have to load the individual fle listed here directly into PLAY Chapter Instruments Articulations and Keyswitches 85 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT EFFECTS ma UE Ee AAE pp tetette Sx Er E X zz pu Ium EI Em a singe note is required play any one of these consonants and those note names are listed in the table below The meaning of note names can vary with implementation for EastWest CA is MIDI note 72 one octave above Middle C Chapter 8 Instruments Articulations and Keyswitches 86 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT NON PITCHED CONSONANTS Consonants Sample words Notes _ OH D hat ahead D Wack eval DE pink upper EA acquaint seu FM Tesh vaton O GH Tene soii _ x Mi The individual instrument files for the Boys choir are similar but not exactly the same Here s how they differ The vowels have only two notes used as keyswitches Therefore all the file names end in 700 080 to indicate that Use the CO MIDI note 24 for Normal Attack for Legato in every other way the same 8 cross faded program files exist for
54. alone the desktop or inside a sequencer This newer WordBuilder can run inside the PLAY window and it is recommended that you take the newer approach But note that it is still possible to run this WordBuilder in he old way that is in a separate window Here are same reasons you might want to take this earlier approach You ll need to run in Legacy Mode if you have data in choir files with extension cho because they are not supported when running WordBuilder integrated inside PLAY A choir file stores the WordBuilder data of more than one concurrent voice for example the sopranos altos tenors and basses in a four part choir When WordBuilder runs inside PLAY it can only affect one voice at a time so choir fle no longer work If you need to open a choir file you have to run in Legacy Mode You can import the data from a choir file while running in Legacy Mode and export the individual voice fles with extension voi Then when running WordBuilder inside PLAY you can import each voice file into a separate instance of PLAY Or you can work on your existing project indefinitely in Legacy Mode and continue to use the choir les Ifyou have a project that you do not want to convert to the new architecture for any reason you can work in Legacy Mode You are not losing an functionality this way but you wil not be able to use the tighter integration available with this newer archi tecture When you run the
55. apter that describes all these instruments and multis starting on page 80 Full SATB Choirs 2 Approaches There are 2 standard ways to create a full choral sound with EWOLSC They trade off the speed with which you can achieve your results against the realism of the final recording Another deciding factor may be how demanding each approach is in its use of computer ne For the most realistic results use of the complete multis for each part Sopra nos Altos Tenors Basses and Boy Sopranos As with live singers the five ranges over This gives you the flexibility to create vocal lines in which for example Sopranos maintain their distinctive timbre in every part of their range even below the top of the Altos range Chapter 6 Using Symphonic Choirs in PLAY 61 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT This approach can use so many computer resources that only with a powerful computer you record 4 lines at once on a single machine you may have to split your parts across two or more computers or else freeze some lines to audio while playing the samples for other lines Two For a more homogenous sound EWQLSC provides Full Men s and Full Women s CChoruses The voices in these multis are range limited meaning there is no overlap be tween the Sopranos and Altos and also none between the Tenors and Basses If a single vocal line passes the split point the samples change from f
56. ations control The Solo button temporarily silences the output for all articulation files that are not currently soloed The same note about CPU load from the previous paragraph applies here as well Use this button to listen to the sound of one voice or just a few without the distraction of others playing at the same time Output Channels Control This drop down list at the bottom of the Master controls as show in the image at the right above allows the user to select the pair of stereo audio channels to which the output will be sent This control can be used to send the audio output from each loaded Instrument to separate audio tracks in the system s sound cards when in standalone mode or in the host sequencer when in plug in mode In the case of Symphonic Choirs you should not separate the audio output for the 6 instruments that PLAY loads for the WordBullder voices or the 12 instruments for the Men and Women instrument types The 6 or 12 instruments are acting as a single instrument and need to have their audio directed to single output If two or more voices within the same instance of PLAY share the same output channels then their audio signals will be mixed into a single stereo pair of audio channels Microphones Controls The description of the Microphone Controls that follows applies to oniy the Original Edi tion Ifyou try to adjust the controls for the CLose or Surround mics you receive a warn Chapter 3
57. ce type combines Bass and Tenor samples to create a singe range of male voces For specific information about these patches see the chapter called Instruments Articu lations and Keyswitches later in this manual starting on page BO Or lick on the page number to jump there if reading this on a screen WordBuilder This software tol is the primary interface for constructing a choral performance It is here that the composer or orchestrator literally spells out the words that the choir sings and specifies the fine details of the performance The user is given complete control over how long the choir holds each consonant and vowel within a syllable as well as the constantly changing dynamics that can give a choral track added realism that s the goal Or the user can accept the default settings and get les polished but faster results perhaps for a preliminary mock up When setting English words one has a choice of typing the text with any of the following alphabets standard English spelling an easy to learn phonetic alphabet Vota a phonetic alphabet that EastWest Quantum Leap created specifically to match WordBuilder sung speech capabilities WordBuilder includes 100 000 word dictionary from Carnegie Mellon University for translating American English spelling to a phonetic spelling When typing with one of the phonetic alphabets listed in the second or third items above the symbols are listed on the screen to
58. components create together what you can think of as a single vocal part in the full choir For example if you re creat Chapter 4 WordBuilder a EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT ing a project for an SATB choir there will likely be four Voice files each with its own text and with its own user controlled programming It is required that you open each voice in own instance of PLAY This is true whether you re running PLAY stand alone or in a host Each PLAY window run a single instance of WordBulld fer The image at the right shows two standalone instances open on the desk top one with a Sopranos voice open and the other with an Altos voice All this WordBuilder data for a voice be stored on the hard drive as a voice fle with a oi extension This file can be created by clicking on the EXPORT text in the WordBuilder UI And a saved voice file can be opened by clicking on the IMPORT text Those buttons are shown in the image above Note that importing a saved voice file overwrites anything currently in WordBuilder and it does so without asking whether you want to lose the previous information When using PLAY and WordBuilder inside a sequencer saving the project saves the voice data along with the instruments While it is not required that you export the voice data separately to the file system you can do so One possible reason to export a voce file is that you can
59. dition the appropriate MIDI Control Code must not be turned Off that means if MIDI values are being generated for the On Off code this channel as in the table below they must currently be in the range 64 to 127 if MIDI CC values are not being generated the Control Code is considered On as long as the light in the user interface is On Chapter 6 Using Symphonic Choirs n PLAY 63 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT The effect of engaging the Portamento or Legato effect is subtle The goal is the sound of smooth connected playing and not anything so pronounced that it will draw attention to the effect itself These two scripts share many features in the ways they affect the sound that is the Legato script includes small portamento component and vice versa MIDI Control Codes These MIDI values can be controlled in standalone mode by adjusting the controls knobs sliders on a control surface or MIDI keyboard When run as a plug in inside a se quencer or other host you can create controller envelope to automatically adjust values during playback See the documentation from your hardware software for information about how to change the values of control codes The following table lists the codes that affect these scripts Note that the MIDI Control Codes have no effect unless the corresponding script is turned on in the PLAY interface Ius Portamento Repetition leg 7 T
60. e word not Voton Do not type in hyphens to separate syllables The same facility can be used to add new pronunciations of existing words This way you can even teach your choir to sing in regional accents Although you need to be careful not to re place a traditional phonetic spelling if you may need the traditional pronunciation again Yau might consider making up your own English spelling of words in a specific dialog and than provide the phonetic spelling for WordBuilder to use For example if you will sometimes use a different pronunciation for maybe you can save it under xmaybe or MyMaybe If though you re sure you always want to use your new pronunciation you save it under maybe which replaces the standard pronunciation Chapter 4 WordBuilder 40 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT This facility can also be used to some degree to teach the WordBuilder program some Words from other languages but be aware that only English phonetic sounds are avail able so you will have to use approximations for many non English sounds Soloing a Word Sometimes when you re making changes to the sounds of a word you would like to hear it over and over while you tweak the settings You can do that with the operation known as soloing the Word control at the left side of the WordBuilder window is a button named Solo Click on that button while the cursor is within the weed in questi
61. e image above only appears if you have a license for the Choirs Expansion product And note that the Choirs Expansion Instruments are not available in the Gold Edition These subfolders fall into 4 types of choral parts The traditional SATB parts sopranos altos tenors and basses Abojs choir A men s choir uses tenor samples at the top of the range and bass samples at the bottom to achieve a choral part with a wider range Likewise a women s choir uses Soprano at the top of the range and alto at the bottom Exon Extra samples for the men s and women s choirs as described in more detail on page 84 Note that all these are choral parts that is the sounds of multiple people singing to gether in unison not those of soloists There are solo samples available but not in the Multis folder See page 88 for details on the soloists How WordBuilder Uses Multis To accommodate the large number of separate phonetic sounds associated with each mote of the scale a single section for example the Alto section uses 6 instrument files Chapter Instruments Articulations and Keyswitches 80 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT in a single collection known as a multi Certain rules must be followed to let the Word Builder software work properly with this collection of related instruments but PLAY and WordBullder set up most of what you need automatically The Choirs instruments are divided in
62. e right toward 100 to have most of the rise in volume near the beginning This difference can be heard most distinctly with longer slower attacks Note that the total width of the graph represents the total length of all phases of the en welope Therefore when you change something in one part of the graph for example the decay you may see the slopes of other components the attack and the release change wall because those phases become a larger or smaller percent of the whole this is as expected The Browser View The Browser behaves identically among all PLAY System libraries Read the main PLAY System manual for information about how to use that view Chapter 3 The EWQL Symphonic Choirs User Interface 27 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT Running in Legacy Mode WordBuilder Runs Within the PLAY Window How WordBullder Interacts with PLAY Voices in Symphonic Choirs and WordBuilder Starting a New WordBuilder Voice The Text Editor Adding New Words and New Pronunciations The Time Editor How WordBullder Learns Timings Using Cross Fade Instruments The Tools Using a Library of Phrases Notes from the Producers Click on this text to open the MasterNavigationDocument 28 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT WordBuilder WordBuilder is a tool for approximating the sound of sung speech Its effectiveness in reaching that goal depends on your craf
63. e the EASTWEST Software is granted to the original end user of the product Licensee and is NOT transferable You may not rent lease lend sell redistrib ute or sublicense the EASTWEST Software Updates If an EASTWEST Software update completely replaces full install a previously li censed version of the EASTWEST Software you may not use both versions of the EASTWEST Software at the same time nor may you transfer them separately NFR Not for Resale Copies Notwithstanding other sections of this License EASTWEST Software labeled or otherwise provided to you for development or on a promotional basis may only be used for development demonstration testing and evaluation purposes and may NOT be used for any revenue generating activity that includes the use of the EASTWEST Software without the written consent of EASTWEST If you are not sure which license type you own LICENSE NFR please check your iLok account License Agreement 92 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT Educational Copies You must be an Eligible Educational End User to use the EASTWEST Soft ware Eligible Educational End Users means students faculty staff and administration at tending andlor working at an educational Institutional facility Le college campus public or private K 12 schools EASTWEST Software provided for this purpose may NOT be used for any revenue generating activity that includes the use of the EASTWEST Software witho
64. echnical feel and acoustic properties of a live session in addition the placement of the choir correlates with the orchestral instruments re corded for EastWest Quantum Leap Symphonic Orchestra achieving a unified choral and orchestral mix when the two libraries are used together Consistent microphone place ment for the two sets of samples allows them to work together perfectly whether building stereo or surround sound recordings Chapter 2 Symphonic Choirs An Overview n EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT Renee A Decca Teer those interest ed is an arrangement of three microphones originally designed at the English Decca Re cords and still used for orchestra recordings especially when recording movie scores The mics are arranged as in the diagram at the right Because of the 2 meter spacing between the left and right mics the audio provides the inten sity cues necessary for detailed stereo imaging While including sufficient phase Information to produce an open and spacious sound In addi tion the middle microphone generates a solid central image 2 meters ot Much post production work and active DSP is mandatory to align the multiple time phase paths from all of the sample groups In addition large concert space was re quired to avoid claustrophobic wall sounds and to capture the choir sound we hear at an appropriate distance These ultimately achieve ove
65. ee mixes of a piece that are identical except that they were played with the three separate sets of samples Each of the three takes Clos Stage and Surround is bounced down to a stereo track In a final bounce down the volume levels of the three perspectives are adjusted to achieve a single rack with the desired sound This approach can generate either stereo racks or any of the surround sound formats 4 0 5 1 LCRHLFE Matrix and many others More on surround sound can be found on page 72 for the Intimate or the Expansive Sound Note that some musical styles can benefit from using the Close or Surround sound as the starting point recording of a Renaissance motet or other chamber ensemble might benefit from the sound of using mostly the Close samples And a dreamy or mysterious film score might be more effective when based on the Surround samples Such decisions also apply with religious music or if you are looking for a Lord of the Rings type of sound Let your ears decide Beyond the Panning Controls All EWQLSC voices take their traditional position on the concert hall stage And the pan ning position is reinforced by tiny differences in the arrival of sounds to the left and right mics Not only do the sounds directly from the different sections have different arrival times but so also do the reverberations from the left and right walls This is true though only for the Stage and Surround mics on
66. eel position of 40 in the WB SOFT MOD instrument then you can set it to that level consistently But be aware that you will get more realistic results if nothing in a performance remains static for too long Real choirs never retain an exact dynamic or a consistent level of vibrato over every note in a composition Chapter 4 WordBuilder 50 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT The Tools In the upper right corner This is an array of seven buttons that pro Vide access to several important functions The Undo button removes the most recent change made in the WordBuilder interface Clicking repeatedly on the button removes more and more consecutive changes Up to 100 of the most recent changes can be removed The Redo button undoes the Undo operation For example clicking the Undo operation 8 times in row and then the Redo button B times a row re turns you to the state of the UI before you started clicking on the Undo button The Reset Position button tells WordBuilder that the next MIDI note should sing starting with the first word in the text That is it resets the syllable position back to the start of the text but it does not affect which MIDI note will next be played The Bypass button sends the MIDI input data directly to an output port without any Word Builder processing When in Legacy Mode the Advanced MIDI Out dialog controls to which MIDI port the data is sent The
67. een segments in which the voices slide upward into the note Chapter 4 WordBuilder 39 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT Click OK to save your selection When the articulation in the dialog is set to Text Syntax which is the default Word Builder looks to symbols in the Text Editor to know which articulation to use There are 4 symbols that can be typed anywhere in the text to affect the transitions TRANSITIONS Articulator Nena legato gt Staccato Sued Siting Here is an example of text whose articulation is specified with the Text Syntax symbols gt the why and where foe gt of the merry day And the image below shows the same phrase in the Text Editor but using the Votox let ters As with all keyswitches remember that each one continues to affect notes or in this case all segments until a new keyswitch overrides the previous one Adding New Words and New Pronunciations If an English word is not found in the dictionary and you intend to use it again then you can add the word and its phonetic spelling so that next time it will get translated automatically When a word is shown in red inside the Text Editor meaning that it is not found in the dictionary right click on the word in Windows or contro click on a Mac to open the context menu then select Add to Dictionary A dialog appears that lets you enter the Phonetics layer for th
68. en medium volume medium vibrato samples and loud heavy vibrato samples the loudest two thirds of the DYN MOD patch SOFT MOD multis are a 2 way dynamic cross fade between soft volume non iibrato samples and medium volume medium vibrato samples the softest two thirds of the DYN MOD patch SOPRANOS SURWEDTLMOD tay Mod Wheel crossfade HARD MOD way vibrato Mod Wiel cross fade SOPR WO SOFT MOD way Mod Wheel css fade SOP WE WY SOPR NB VBF vibrate fte SOP VEN vibrate medium ALTOS ABDYBDINMOD Sway Mad Whee css ade ATO WE HARD WOO 2 way vibrato Mod Wheel cross fade AIDWSSTWOD 2 way non vbratfvibrats Mod Wiel cross fade ATO W NY mi ALTO WE VIF vat fte ALTO We VEN vibrato medium TENRNB DINMOD___ 3wayMod Whee css ade TENR NB HARD MOD 2 way vibrato Mod Wl coss fade TENR NB SOFTMOD____ 2 way Mod Wel cross fade TEAR Wa brat TENR NB VBE vibrate fte TERR WB VEN iat medium Chapter Instruments Articulations and Keyswitches 82 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT WISSWBDYNMOD 3 way Mod Wheel coss fade BASS WB HIRD MOD 2 way vibrato Mod Wiel crossfade BASS WB SOFT MOD way Mod Wheel coss fade BASS WB NV rato irat fe BASS WB VEN vibrate nedum BOGWBDMIMO 2 way non vibrato cress fade BOYS WE WARD mibi fote BOY
69. equirements You will soon learn many tricks that will improve realism Also look for hints in the Symphonic ChoirsWordBuilder forum at hitpIww soundsonline forums com Although WordBullder features automatic translation from English to phonetic alphabets itis possible to create an approximation of the sound of other languages using the pho netic alphabets directly The more similarity there is between the sounds of the vowels and consonants of English and of your intended language the more realistic the possible Speech can be And note that WordBullder comes with a set of pre packaged Latin phras with many uses including the recreation of the sound of traditional liturgical scores This section of the manual describes how to use the various features of WordBuilder in pursuit of those goals including how to set the parameters that control its operation After reading this chapter when learning the program you should consider the section as reference guide any time you need to delve more deeply into a technique Chapter 4 WordBuilder 29 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT Running in Legacy Mode Before describing the features of WordBuilder It s important to mention that this manual documents the features of the WordBuilder that comes with PLAY versions released in September 2010 and iater Older versions of WordBuiider always ran in a separate win dow from PLAY and that was true whether running stand
70. es are already located in their correct position on stage as captured in the Stage and Surround mics The Close mics were recorded with the singers directly In Chapter 3 The EWQL Symphonic Choirs User Interface 20 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT front of the stereo microphones so in the center but the Close instruments have their Pan control adjusted to sound in the same location as the other mic positions It is not necessary to adjust the Pan control of individual singers or sections but ou can use this control to achieve more personal sound or special effects Master Volume Control and Meters This vertical slider adjusts the volume of the final output It preserves the relative mix of volumes specified in the individual sliders within the Microphones control The two vertical volume meters for the left and right audio channels display the real time volume of the output signal Mute and Solo Buttons The Mute button temporarily silences the output for the selected articulation file without affecting other open articulation files Note that the Mute but on like the Mute buttons in PLAY does not stop PLAY from processing the MIDI and audio data for received note data therefore using the Mute button does not reduce the load on the computer s CPU If you want to tem porarily turn off the processing for this articulation file uncheck the Active checkboxes for loaded entries in the Articul
71. escribe the effect of each keyswiteh SOPRANO SOLO KS CO F O Keyswitch note Sound C0 a presi ia w mm vibrat w ah 3 ry presi la w w vibrato ALTO SOLO KS CO A O Keyswitch note Sa scripti C0 presi rato on DD E lat sur w ty presse lat sur 3 le presse vitat 3 esi vibrate im ln presi bat EJ ty ty m w T1773 m A prese via Chapter Instruments Articulations and Keyswitches 89 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT BOY SOLO KS CO AO scripti c i 2 mni DD a lured up ron bat 77 ty m o lured up ro ibat 3 lm Random sabes c Random ables Random ables m Fandom lables The last 4 keyswitches for the boy soloist FIO AO generate Latin syllables Stringing these together on a melody makes it sound as if the boy is singing words in Latin or some language the user does not understand You have 4 syllables to choose from for each note in the melody As an example play the lowest B in the boy soprano s range four times and precede each note in turn with the keyswitches AO GHO GO and FAO That creates the text noo mah nah fee If you do the same process on the C just abo
72. etters by clicking on the plus sign when working in those modes Note that some symbols are two characters long for example Au is the vowel sound in the English word brown These two part vowel sounds are called diphthongs The information in these on screen lists and more Is repeated staring on page 75 in this guide To type using the Phonetics or Votox symbols click on the Phonetics or Vo tox button at the left Whichever language has the highlighted button is what you re typing in At the right is an example of a word typed in Phonetics It defines the sounds of Latin word common in liturgical music lacrimosa which means weep ing Note that the syllables are separated with spaces hoo when the moo hoon is bri i i ight be bops a doodle You might also start in English let WordBuilder translate the text to one of the phonetic alphabets then make adjustments phonetically to get the exact performance you want If you plan to use WordBuilder a lot then learning to work entirely in Votox is strongly recommended that will give you much more control and it s easier than it might seem first Chapter 4 WordBuilder 36 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT Component Controls There are three levels of phonetic components as shown in the image above Word Syllable Lotter When you place the cursor in the Text Editor information about the selected word syllable and le
73. eys on the computer key board Double clicking the knob returns the value to 0 for whichever mode is selected Coarse or Fine In PLAY there are wo ways o Wanspose a musical phrase the Transpase trol and the Tune control but they work very differently 1 The Transpose control can nly move notes up or down in semitone increments nothing smaller It does not change the audio data instead it replaces the incoming MIDI note with a higher or lower value For example the Transpose control is set to 42 playing MIDI note 60 Middle will cause PLAY to play back the audio for note 62 2 The Tune control allows adjustments as small as 1 100 of a semitone The audio data is stretched over time to lower the pitch or compressed to raise the pitch For small changes of less than a quarter tone the effect on the timbre is negligible the larger the change in pitch the more noticeable the distortion Note that only the Tune control can let an instrument play above or below the range of provided samples Finally transposing has almost no effect on CPU usage adjustments in tuning require significant CPU processing Pan Control The Pan knob moves the apparent position of the sound source left or right in the audio field by adjusting the relative loudness of the signal in the left and right output channels Tt preserves the relative panning for the individual panning knobs in the Microphones control The choir voic
74. facility to unload any samples you will not be using to save CPU resources visible check means the samples are loaded Chapter 3 The EWQL Symphonic Choirs User Interface 25 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT Change the loudness of the individual articulations Click and drag up or down to make that articulation louder or softer without affecting the other articulations The fourth column lists the name of the articulations or other components of the play back such as release trails sure to read the discussion on page 70 about using the Articulations control to manage the release trails Changing Keyswitch Notes in the Articulations Control When viewing a Keyswitch file the fourth column includes the keyswilch note as a prefix The CAO at the beginning of the Leg name in the second slot in the image at the left indicates that the note CHO can be used to initiate that articulation The control lists the default Keyswitch note for each articulation but these notes can be changed If within the list of articula tions you right click on aPC or Control click on a Mac you will open a context menu listing all the available notes to which you can move a Keyswitch The image to the left show part of the context menu that opens for the articulation GHO Exp Fst The check mark next to GNO shows the current keyswitch note Select any differ ent note change the Keyswitch The image at the ri
75. ght shows how the D keyswitch can be moved to A1 This feature provides very few restriction on which note you select so be aware of the following If you assign an articulation to a note that is already a Keyswitch and don t move the other Keyswitch then that nate will trigger both the old and the new articulation effectively playing two articulations at once That might sometimes be useful and at other times a problem you assign an articulation to a playable note in white on the onscreen keyboard then playing that note will also change the articulation The articulation will be changed after the start of the note so the note itself will not be in the new articula tion it only starts with the next note Ifyou change the Keyswitch nate for the currently selected articulation then the notes temporarily stop being playable you select a new articulation by selecting keyswitch note Visually this means all the white keys on the onscreen keyboard turn the darker tan color Remember that the lowest keyswitch note usually CO is the default keyswitch so it is considered currently selected until another keyswitch note is selected Chapter 3 The EWQL Symphonic Choirs User Interface 26 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT If you open the context menu on a slot that does not contain a keyswitch the value None will be selected and you will not be able to assign a keyswitch n
76. h fles back to normal attack the default Keyswitch CO resetting the Mod Wheel to zero value I is also possible to reset the cursar to anywhere you want in the text Use the mouse to position the cursor in the syllable you want to start with Then press the FA key Using Cross Fade Instruments The EastWest Quantum Leap Symphonic Choirs includes cross fades in some of its cho tal instrument ew fles Each Instruments of this type includes MOD in its name These voice files respond to changes in the Mod Wheel by changing the mix between two contrasting sets of samples There are two ways you might want to control the Mod Wheel and therefore which of the sample will predominate For control over a time span greater than single words you will likely want to use the Mod Wheel on your keyboard or to use a CC 1 envelope in a sequencer If you want to effect the sound for the duration of a word or syllable you can instead use the Time Editor in WordBuilder as described above in the section Dynamic and MIDI Envelopes starting on page 42 mmc Here is an example of how cross fades are useful Sopranos multis used in this example but this func tionality is available all of the vocal ranges The vo cal file named SOPR WB HARD MOD uses the Mod Wheel to move smoothly from a value of O medium volume medium vibrato samples to 127 loud heavy vibrato samples This cross fade can create realistic wells
77. he EASTWEST Soft Ware that is returned to EASTWEST or an EASTWEST authorized representative with a copy of the original receipt THIS LIMITED WARRANTY AND ANY IMPLIED WARRANTIES ON THE ME DIA INCLUDING BUT NOT LIMITED TO THE IMPLIED WARRANTIES OF MERCHANTABILITY OF SATISFACTORY QUALITY AND OF FITNESS FOR A PARTICULAR PURPOSE ARE LIMITED IN DURATION TO NINETY 90 DAYS FROM THE DATE OF ORIGINAL PURCHASE SOME JU RISDICTIONS DO NOT ALLOW LIMITATIONS ON HOW LONG AN IMPLIED WARRANTY LASTS SO THE ABOVE LIMITATION MAY NOT APPLY TO YOU THE LIMITED WARRANTY SET FORTH HEREIN IS THE ONLY WARRANTY MADE TO YOU AND 15 PROVIDED IN LIEU OF ANY OTHER WARRANTIES IF ANY CREATED BY ANY DOCUMENTATION OR PACKAGING THIS LIMITED WARRANTY GIVES YOU SPECIFIC LEGAL RIGHTS AND YOU MAY ALSO HAVE OTHER RIGHTS THAT VARY BY JURISDICTION 7 Disclaimer of Warranties YOU EXPRESSLY ACKNOWLEDGE AND AGREE THAT TO THE EX TENT PERMITTED BY APPLICABLE LAW USE OF THE EASTWEST SOFTWARE IS AT YOUR SOLE RISK AND THAT THE ENTIRE RISK AS TO SATISFACTORY QUALITY PERFORMANCE ACCURACY AND EFFORT IS WITH YOU EXCEPT FOR THE LIMITED WARRANTY ON MEDIA FORTH ABOVE AND TO THE MAXIMUM EXTENT PERMITTED BY APPLICABLE LAW THE EASTWEST SOFTWARE I5 PROVIDED AS IS WITH ALL FAULTS AND WITHOUT WARRANTY OF ANY KIND AND EASTWEST AND EASTWEST S LICENSORS COLLECTIVELY REFERRED TO AS EASTWEST FOR THE PURPOSES OF SECTIONS 7 AND 8 HEREBY DISCLAIM ALL WARRANTIES AND CONDITIONS WI
78. he audio from the left channel Chapter 3 The EWQL Symphonic Choirs User Interface 19 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT Stereo Swapped uses both stereo channels but reverses the left and right audio Because of the natural positioning of the choirs on the concert stage in Symphonic Choirs this choice appears to reverse the natural layout in effect when these Choirs were originally recorded Most applications wili use the Stereo setting to achieve the natural stereo ambience One ofthe Mono settings might be used to bring single voice to centerstage to create the feel of a pre stereo recording or for other special effects The Tune Controls These controls include two buttons to select between Coarse tuning and Fine tuning as Well as a knob and two digital readouts that allow the user to change the Coarse and Fine tuning settings When set at 0 0 the instruments play at concert pitch Coarse tuning adjusts the pitch up or down in semitone increments Fine tuning measured in cents moves the pitch up or down in increments of 1 100 of a semitone One possible use Is to move Symphonic Orchestra up or down to the same pitch as live recordings or other sample libraries Adjustments can be made by turing the knob moving up or down with the mouse but ton held down or by selecting one of the two digital readouts and entering new value by typing a number or by using the Up and Down Arrow k
79. he syllable Even though the melody in the sequencer or the keyboard played only one note WordBuilder triggered 5 samples in the PLAY engine And you are given total control ver when each sample begins and ends as well as how much they overlap Dynamic and MIDI Envelopes When people sing words they do not always keep the volume exactly constant through the duration of each syllable They may get a little louder or softer in order to be expres sive or maybe just because the common pronunciation causes one sound to die out Chapter 4 WordBuilder 42 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT while another grows in loudness The Time Editor gives you control over continuous loud ness changes and all MIDI Control Codes In the image at the right one of the oes or estar RR V has been opened fo show 2 ex ta bars that allow you o adjust pa for continuous contri The Sia pius signs 1o e Vetex Symbols are used to open one bar at gt The uper br showed the volume as indicated by the abbre Viation Vol Clicking the plus sign again opens bar for a Control Code Which can be done as many times as you need new Contro Codes In the image the Control Code bar was originally labeled CC 0 when it opened Click on the yellow text CC 0 to open the Control Change dialog shown in the image The drop down control originally said 0 Bank Select MSB but was changed to
80. he three On Off control codes all work the same way a value 64 or higher turns the script on and any other value 0 63 turns the script off CC 5 affects the duration of the portamento or legato The possible values are 0 127 The higher the value the longer the effect takes to complete that is you should set higher values to make the sound more pronounced Use your ear to find the right values Tor each note in the phrase The image at the left shows two envelopes affecting the Pertamento script in host The nine white horizontal bars are the notes The light gray line that Jumps from the top to near the bottom and back to the top is CO 65 that tums the script on and off so that only some notes use portamento The curving line near the middle is CC 5 setting the effects Portamento time parameter for each note individually Note hat the middle section when the CC 65 line is near the bottom CC 5 actually has no effect because the script is turned off at that pont Monophonic Behavior Both the Portamento and Legato scripts change the instrument ew file so that it can play only one note at a time whenever the script is tumed on If note is still playing When a new note starts the first note will end at that moment This behavior allows for no ambiguity in how the notes form a phrase Chapter 6 Using Symphonic Choirs in PLAY 64 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT One consequence of this behavior
81. hough they used to be set here in older versions of WordBuilder and still are when WordBullder runs in Legacy Mode Voice which you can see the image at the left above is one of Sopranos Altos Tenors Basses or Boys When WordBuilder tuns inside PLAY this parameter is determined by Ihe multi you have opened The section of the dialog called Consonants Volume allows you to raise or lower the loud ness of all consonants relative to the vowels For example i you find that the words are hard to understand because the consonants are getting lost among the vowels ry boost ing one both of these values Or lower the settings if you want a smoother more vowel emphasizing sound Pitched consonants are those that are supported by the breath so they can be sung at any given pitch b and z are examples Non pitched consonants use no breath to activate the voice box p t and s are examples Data Flow Into and Out of WordBuilder When you play a note on a keyboard or a sequencer plays note and that note is di rected to PLAY running WordBuilder here s the path that the MIDI data takes 1 The original note or Control Code data enters PLAY and is immediately routed to WordBuilder 2 WordBuilder looks at the next syllable in the text to be sung For each phonetic element in that syllable Le for each Votox symbol WordBullder generates a new MIDI note nd it determines when to send each of these new MIDI n
82. hth at 90 bpm is 500 ms which agrees with the image The staff at the left shows this configuration Setting those same words to quarter notes with no rests between the notes would yield similar but not identical esu Here the P that closes the syllable occurs during the rest after the 500 ms of he note itself With no rest between notes the phonetic segments happen within the duration of the note itself or might overlap the start of the next note by a small amount When writing a score for real singers to read simplicity of the notation is important but in WordBuilder and Symphonic Choirs fine tuning the duration of the MIDI notes by 10 or 20 ticks can have an impact on the sound and enunciation of the syllables When trying to fx a syllable that doesn t sound quite right ask yourself whether lengthening or shortening the rests between notes can improve the After running the Learn operation click on each word in the Text Editor to see how Word Builder has modified the timings of all the segments to match the music to which the Phrase will be sung Once WordBuilder has learned the note on and note off events of musical line you manually tweak the timings to fine tune the performance to your tastes If you change the tempo or the rhythm you may want to rerun the Lear feature to conform the phonetic segments to the shape of the new melodic line Changing pitches does not require rerunning Lear
83. ial or when the computer s power andlor memory is too restricted to handle so many samples at once The Vota instruments also require more RAM usage than the DYN HARD patches on Which they are based The Component Instruments The multis listed in the previous section designed to be used only with Word Builder EWOLSC also provides individ ual instrument files that you can open Chapter Instruments Articulations and Keyswitches EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT in PLAY to hear any single phonetic components directly These fles are documented below The Instrument files for the four adult choirs Soprano Alto Tenor Bass all have the patterns of consonants vowels and vocal effects To save space only the bass ar ticulation files are listed below The others use ALTO SOPR in their names The first group listed is vowels These are dynamic cross fades The keyswitches pro vide access to the same four articulations available through WordBuilder KEYSWITCHES Articulations Keyswite mal 3 c saab D0 sum sii D The table below lists the vowels and some example English words that use those sounds The third column provides the Votox equivalent Sample words Votox BASS uh ONF CODIO maney ough See DNFCODIO green sh E BASS oo DKF CO DAO ble pool 0 BASSIHOXFCO DIO _ ede 1 BASS ch DHF CODAT red steady BASS oh D
84. ide any of these bars and remove the envelope click on the minus sign associated with the bar you want to remove Note that these envelopes are interpreted by the PLAY sample engine in the same way that envelopes in a sequencer get processed in PLAY except that the duration of these WordBuilder envelopes is usually very short sometimes lasting only 100 to 300 mill seconds But they can be very effective in increasing the expressiveness and realism of the output Cross Fades Betwoen Phonetic Letters Sometimes the sounds of a syllable don t exactly follow one another in sequence in stead one sound fades out as the next one fades in This is known as a cross fade If you consider the ending of the word throw the sound shifts slowly from mostly o to mostly w with no clear break between the two WordBuilder handles this situation by controlling the relative volume of the two sounds Note in the image above that WordBuilder has automatically added volume envelopes to both sounds causing the o sound to disappear slowly while the w sound Votox letter O becomes louder You can of course modify or eliminate these envelopes as described above if you re looking for a different effect In this example the volume envelopes were added automatically when WordBuilder constructing the Phonetics layer How WordBuilder Learns Timings When you first type text into the Text Editor WardBullder uses default lengths for each sound
85. ime If you re not 100 accurate in hitting all the notes of a chord at once you could end up triggering different syllables for what are supposed to be several notes singing the same syllable You can turn this feature on and off by clicking on the small checkbox at the left and when on you can specify the tolerance in milliseconds You can turn this feature off if you never use chords within a single choral voce If you need to leave this feature on then you may have to experiment to determine the value that works best for your laying style The Voices Default Tab There are three dialog boxes that open from Veniet enel this tab Each is used to set the defaults that occ first appear when those dialog boxes are pre sented If ever you want to change the val mmm ues that you have set in these dialog boxes to apply to a specific project you should o am that in the project specific dialog bores not here Details of this process are presented J the paragraphs below Note that the lower two buttons are only available in Legacy Mode s x See the older manual for details on how these buttons work Default Voice Properties Dialog Box This is the same dialog box that appears each time you start S WerdBuilder in stand alone mode If you never set values eae as the defaults in this dialog then you will always see the pr same values as shown on page 32 But let s say you usu
86. is and other manuals on the computer screen you can zoom in to see more detail in the images or zoom out to see more of the page at once If an included picture of the user interface or a diagram seems fuzzy or illegible then zoom in using ne of several means provided in the Acrobat Reader software Note that images are clearest and screen shots most legible at 200 and next best at 100 The Master Navigation Document Because the EastWest PLAY System is a collection of components each with its own User s Manual a Master Navigation Document MIND is provided to allow users to jump Quickly between these PDFs when being read on the computer screen This MND is a one page file with hyperlinks to the PLAY System documentation and to all the library manuals Hyperlinks to this Master Navigation Document found on the title page of each chapter in each document From there you can open any other document in the collection For example if you re reading something in this documentation for the Quantum Leap Gypsy library and need to open the manual for the PLAY System as well go to any chap ter title page and click on the link that says Click on this text to open the Master Navi gation Document It will open in a new window on the screen In that document click on the icon for the PLAY System and its manual will open in the same window hiding the MND You now have both the Gypsy library manual and the PLAY System man
87. leted the post production team was put to work which Included some of the finest sound designers and programmers in the business Special software was developed to edit the multiple tracks simultaneously and keep them in phase An advanced version of our revolutionary WordBuilder software for both PC and Mac was developed specially for EWGLSC Nearly a year of post production was neces ary to achieve the final resulta result we are all extremely proud of We hope you enjoy EWOLSC as much as we do and we would love to hear what you create with it Explore the many sections of this Guide especially the sections on the WordBuilder software where we expect you will spend most of your time and use it to spark the endless creative possibilities of this ground breaking virtual instrument Producers Doug Rogers and Nick Phoenix Chapter 2 EWQL Symphonic Choirs An Overview 10 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT Original Edition and the Gold Edition This manual documents both the Original Edition of EastWest Quantum Leap Choirs and the newer Gold Edition There only small number of differences between the two editions and they re listed below But note that this manual was originally written for the Original Edition so the overview of the product applies to the product as it first appeared Most of the text and tables apply equally to both editions In the few places where the details apply to only one of the
88. marker every 50 milliseconds The heavier vertical lines just before the word Off divide the display into the sounds that take place during the note itself and the sounds heard during the release trail that is after the MIDI note ends The five colored bars represent the duration of each Votox symbol three during the note and two at the end of the note From this display it looks as if the s will be heard for about 90 ms the w will start a little before the s ends at about the BO ms point the long E sound will start about 175 ms into the melody note The E bar may look as if it ends at 360 ms but if you drag the heavy vertical separator to the right with the mouse you ll see that it continues indefinitely That is it continues until the MIDI note off event You do not need to specify in WordBuilder the duration of the note in the melody The MIDI notes in the sequencer specify that Or the keyboard player specifies that when playing in real time The two horizontal bars light and dark orange in the image after the vertical separator are the sound of the syllable being closed so they are triggered by the nateoff event The E persists until the tongue can move into position to pronounce the T sound When you enter text in the Text Editor WordBuilder uses default setting for how long to make each bar You can use the mouse to drag the ends of the bars and change the start time and duration of each sound in t
89. material is governed by their respective terms License Agreement 95
90. me Editor That will cause the lane to appear a little lighter than the oth ers Make sure the letter also appears in the Letter display at the right end of the image above The image at the left shows the Votox letter F selected in the Time Editor lt As you can see in the Letter control at the right nibs ge shove tar ae nual set E 28 tings you can modify labeled ks and for and vti respect For now fa we are looking at the velocity so click on the 3 dots ellipsis in side the small square to the right of the v name This will open he small dialog box you se at the right The top half is shown here with the drop down list of 6 possible operations open Selecting Nothing leaves the note s velocity unchanged that is leaves it the same as the velocity of the original MIDI note sent from the sequencer or keyboard Selecting the equal sign sets the velocity to the exact value specified in the box at the right For example selecting 85 sets the velocity of the F segment to 85 no matter what the velocity of the played note is Remember that values for velocity range from O silent to 127 played with maximum force The other 4 symbols are the arithmetic operations plus minus times and divided by Consider an incoming note with velocity of 50 Here are examples of how the settings in this dialog affect the outgoing velocity for the individual segment VELOCITY ARITHMETIC
91. middle of the Balcony The same tenor melody is played From this perspective the ull acoustics of the hall are most evident because you hear clearly the sound bouncing off the ceiling the wall all the reflective surfaces in front of you and even behind I be very lush sound though perhaps lacking in the immediacy of a closer position however adding in a little of this sound either in a stereo mix or in the rear speakers of surround sound recording can add dimension to the recording This mic position was used to create the Surround samples This is the first choral sample library to include user control of three simultaneous stereo microphone setups Close Stage and Surround for the soloists and sections You can mix together any combination of these microphone positions to control tone and ambi ence It s like virtually repositioning the listener by incrementally moving out from the close mics to the stage mics to the hall mics known as audio zoom all in real time Note that the several choirs available in the optional Choirs Expansion are built on samples from an earlier library called Voices of the Apocalypse VOTA These voce types were recorded only with mics that correspond to the Stage mics those near the front row Chapter 6 Using Symphonic Choirs in PLAY EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT of the audience Therefore this text about the 3 mic positions does not apply to tho
92. n stereo only You can mix all three ambiences together with out any phasing issues You will actually hear a lot of dimension in your stereo mixes Consider this if you render a close mix a full mix and a surround mix of every piece you write you will have an archive that can be used to create surround mixes in the future And you know it will work perfecti This technique also allows you to do quick wetter rir remises in the future Controlling Ambiance with the 3 Mics not available in Gold Edition Controlling the natural reverberation of the concert hall pma be as easy as adjusting the level of Surround mies and turn ing on off the Close mics If you require more control the volume of the release trails can be altered in the Articulations control The image at the right shows the level of the release trails lowered by 2 5 dB relative to their original loudness Just be sure to make the same adjustment n all the 6 to 12 instrument files when you load a mult Some Sound Advice Generally in our opinion the Stage mic has the best overall sound if you will be using nly one mic position but a combination of the three mics usually creates the most impressive sound Although it may vary with the type of choral music being recorded the sections often sound best with the Close mics turned down in volume leaving only enough of the close mics to add definition Chapter 6 Using Symphonic Choirs n PLAY 70 E
93. ncert hall has accent capability and will be much like early big sound Decca setups omni or non directional pickups at front a center tree often of directional microphones sev eral close placed accents and a hall sound microphone group Combinations of phase Interferences sonic bleeds to microphones time arrivals and special energy convey a best seat perceptual experience even though the microphones are much closer to the Chapter 2 EWQL Symphonic Choirs An Overview 12 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT performers than is the listener in the hall The sense of vocal directionality and its effect onstage and hall sound is evident Post Production The EWOLSO and EWOLSC samples originate from this Decca setup The user can ma nipulate or mix file perspectives to work composing project with the same mix capabili ty available in most soundstage and classical recordings Microphone pickups ate select able allowing the user to mix and create a complex full sounding performance External equalization adjustments can make soloists be very soft yet have pinpoint resolution In a lush full ensemble Offstage singers can sound diffuse and merge into channel sur rounds without creating distraction Stereo accents with time phase control can extend near fied images beyond the speakers useful effect for computers and gaming Three Dimensional Samples Original Edition only Three file groups opera
94. nnected to the next syllable because the S sound is triggered again at the beginning of the next syllable Chapter 4 WordBuilder 53 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT Hint 4 Many words work better if you repeat a vowel twice The word drum is usually written like so in Vota drum But it can also be written like so uum Now when you let go of the note u is triggered again for a short period of time before the m You can overlap and cross fade the second u and the for smooth re alistie effect Mint S Consider word like rain which can be written like so in Voto TeEn The realism of the vowel sound can be enhanced by adjusting the curve on the eE cross fade Have the e decrease from 127 down to y 50 instead of near O This detail makes for a more convincing diphthong Mint 6 Generally the slurred legato is best for a rolling legato ine The regular legato is good for fast clean connected notes The legato attack is the least natural and most perfect sounding of all the attacks In the Boys choir the normal attack has lot of the character of the boys and the legato attack is more perfect and synthetic Nice lines be created by mixing the two styles for example Normal Legato Legato Legato Normal Legato etc Mint 7 When consonants are even slightly too loud it can sound unnatural Real choirs in hall are hard to understand Consonan
95. not find the word In the dictionary For example if you separate an English word into syllables WordBuilder may have to set the word in red to indicate it cannot make good automatic phonetic separations In this case make the syllable separations in the Phonetics layer tray comment the number sign and all text after it on a line are considered com ents and not sung The screen shot above shows many of these colors If you re reading this in black and White only then ty typing it yourself The proper name Geri is not in the dictionary so it s in dark red The words must fy and were found so they re in medium blue When WordBuilder looked for with in the dictionary it found two possible pronunciations Although the word usually pronounced with the same th sound as in eco igh in certain phonotactic situations it ean be pro pes nounced with the voiced th sound in thy Decide pats how you want it to sound in your piece and make your choice by right clicking in Windows or control elicking Mac You ll see the context menu you see here The choices at the bottom are the two possible pronun ciations wid for the voiced th sound in thy wit for the unvoiced th sound in thigh If the one with the check is not the one you want click on another choice Inthe example text above because the scat syllables are nat in the dictionary
96. nse will be governed by and construed in accor dance with the laws of the State of California as applied to agreements entered into and to be performed entirely within California between California residents This License shall not be governed by the United Nations Convention on Contracts for the International Sale of Goods the application of which is expressly excluded If for any reason a court of competent jurisdiction finds any provision or portion thereof to be unenforceable the remainder of this License shall continue in ful force and effect 12 Complete Agreement Governing Language This License constitutes the entire agreement be tween the partes with respect to the use of the EASTWEST Software licensed hereunder and supersedes all pror or contemporaneous understandings regarding such subject matter No amendment to or modification of this License will be binding unless in writing and signed by EASTWEST Any translation of this License is done for local requirements and in the event of a dispute between the English and any non English versions the English version of this License shall govern Third Party Software and Service Terms and Conditions Portions of the EASTWEST Software uti lize or include third party software and other copyrighted material Acknowledgements licensing terms and disclaimers for such material are contained in the online electronic documentation for the EASTWEST Software and your use of such
97. ocity cannot affect what happens to the sound after the hammers hit and leave the stings and ve locity works the same way In the current implementation of MIDI velocity is usually designated by a number between 1 and 127 And most software sequencers display velocity as vertical bars something like the dia gram at the right M sc lt FA as i i ec a e Price Maler seg sted hs a eer ts ee cai eg nord to ae see Lp ot fy eter ere e Ree eire lere e Velocity changes are therefore a much better way than volume changes to achieve matural sounding dynamics The disadvantage of velocity is that it cannot be changed mid nate Using the two together gives the orchestrator control over more aspects of the dynamics MIDI velocity is an attribute of the Note On message it can only be transmitted at the onset of note Volume in contrast is a control change CC7 it can be transmit ted at any time Likewise the parameter called Expression is represented by another MIDI control change 11 In EWOLSC CC11 is used to control dynamics It is pos sible to shape the dynamics of a line either by playing a CC11 controller real time by drawing an envelope in a sequencer Most MIDI keyboards and contro surfaces have programmable knobs andor sliders that can be set to send C11 messages to a specific MIDI channel Sliders are generally more sensitive for real time control If your sequencer supports
98. og in the PLAY System manual for more information about this articulation specific approach Stereo Double Controls This knob with its three buttons gives the user the option of using ex clusively the left stereo signal or right when Stereo is selected from the Channel Source drop down For any other setting this control has no effect The knob lets the user determine the spread of the signals how far apart the ear per coves the stereo channels to be Turning it all the way to the left brings the two channels together at the center unless the Pan knob positions the output differently and is the equivalent of tuming off the controls with the On Off button Turning it the way to the right calls for the maximum spread available Select between the left and right signal with the buttons an either side of the On button Reverb Master The Reverb control is described in the main PLAY System manu but Symphonic Choirs and a small number of other EastWest virt al instruments include a Master button as part of the group When the button is pressed and the On light is illuminated the Reverb for this instrument applies to all the other instruments in this instance of PLAY including instruments from libraries that do not include a Master button If the Master button is already engaged in another instrument in the current instance of PLAY and the Master button is pressed in new instrument then the settings in the UL of the new inst
99. omas Merkle Ezra Buchla David Kendall Nick Cardinal and Jonathan Kranz and Justin Harris Manual John Philpit Chapter 1 Welcome 6 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT How to Use This and the Other Manuals All documentation for the EastWest PLAY Advanced Sample System and its libraries is provided as collection of Adobe Acrobat files also called PDFs They can be viewed on the computer screen or printed to paper Each time you install one of the PLAY System libraries two manuals are copied to the file system on your computer The manual that describes the whole PLAY System This the largest of the manuals vddresses how to install and use all aspects of the software that are common to all libraries The library specific manual such as the one you are currently reading This smaller document describes aspects that differ from one library to the next such as the list of included instruments and articulations Using the Adobe Acrobat Features opening the Bookmarks pane along the left edge of the Adobe Acrobat Reader the user can jump directly to a topic from the section names Note that some older versions of Acrobat Reader might not support all these features The latest Acrobat Reader can be downloaded and installed at no cost from the Adobe web As an example of a hyperlink you can lick on the ast word of the previous sentence to be taken directly to the Adobe site When reading th
100. on The word will turn to red to indicate it is soloed and the button will tum light blue Now every time you send notes into WordBuilder it will cycle through only this ane word If playing the word with a sequencer you can set the sequencer to loop through only the appropriate notes Click on the same Solo button to turn off soloing The Time Editor Inthe same way the Text Editor gives you total control over the sounds within each of the words the Time Editor allows you to fine tune how these sounds move from one to the next during the playback of each note in the melody Consider a syllable like sweet Vocalists may move from the s to the w quickly or slowly or at rate in between A careful choral director may give the chorus direction hold the w or to get into the long e as soon as possible With the Time Editor you have control over such decisions Some of the long e may need to continue after the end of the MIDI note because hu man singers take a finite amount of time to get the tongue in postion to close the tL With the Time Editor you have control of that too Chapter 4 WordBuilder 41 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT The Time editor looks like the following image when the syllable sweet is selected in the Tex Editor Note that the 5 Votox letters have been arranged down the left side one per row Across the top is time line with a
101. on of the sung letters you still need to listen to the result and fine tune the performance Because Draw Only mode makes no changes to the output it can provide information about how the notes timings relate to the default letter timings within the syllables Even for those who prefer to adjust the timings of the phonetic segments themselves this extra information can be useful Change Speed mode provides the greatest benefit when used on fast moving music Where the default durations of phonetic segments may not have time to play out before the notes end Making Changes to Learned Text To remove all modifications made by the Learn feature place the cursor in the syllable you want to revert to its default timings or select several sylables and then choose Normal in the Syllable Speed dialog shown below in the next section This action has the side effect of removing any change you made to the affected syllables the same as if you deleted the syllable and then re added it Other Ways to Adjust Timings Inthe Syllable control of the WordBuilder interface directly below the Learn button is a field marked Speed with 3 dots ellipsis to the right Clicking on the dots opens Chapter 4 WordBuilder 47 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT a dialog box for adjusting the speed of the selected syllable by adjusting the duration ofits segments There are three options to choose from The
102. or example Tenors to Basses If that s not a problem in your project then this approach is a good choice You re still using WordBuilder so you have of is power at your disposal In addition the computer resource requirements may be reduced enough that you can load the entire SATB Choir in a moderate amount of RAM The Soloists Three soloist voices are provided soprano and boy soprano Like the choirs de scribed above the soloists are available in all three mic positions The soloists are not available from WordBuilder Cross Fades and the Modulation Wheel Across fade uses two or more different samples on the same MIDI channel and provides means to lower the volume of one sample while simultaneously raising the volume on another sample This fading between the two concurrently playing samples creates a smooth transition from the sound of one to that of the other In EWALSC the Mod Wheel contrals cross fades that affect the sound of the virtual sing ers The parameters controlled include the amount of vibrato and the dynamics The basic Choirs package without the optional Choirs Expansion provides three types of cross fades in the choir multis DYN MOD 3 way dynamic modulation an all in one collection of dynamic range SOFT MOD 2 way soft modulation the lower two thirds of the dynamic range in DYN MOD From soft volume without vibrato to medium volume with vibrato HARD MOD 2 way hard modulation the
103. ote This feature does work on the older keyswitches in the folder 6 Old Keysw but because these files are included to provide compatibility to projects begun in earlier versions of EWQLSO there are probably fewer reasons to do so than with the Master keyswitches Note that changing the Keyswitch note for any given slot in the list does not change the name in the list For example if you change the DWO keyswitch to F1 a will still appear in the name The only way to know the currently assigned Keyswitch note is to pen the context menu and see which note is checked If you use this feature often you might consider creating your own detailed mapping of what notes have been moved and to where And you might want to save the ew file un der a new name so you can recall your customized mapping for this and future projects The Graphical Representation of the Envelope and the Curve Knob The Envelope Controls are described in the main PLAY System manual because they are common to all PLAY System libraries Only same libraries Include he graph shown here so it is included in the manuals for those itraries only The Envelope has an extra knob compared to the same control in the Uls of other libraries the Curve knob It af fects the curve of the attack but is not displayed in the graph just above Turn the knob to the left toward 0 to have the attack start slowly with most of the rise late turn it to th
104. otes back to PLAY For example if the next syllable is the word ly which in Votox is spelled SlaE WordBullder creates 4 MIDI notes one for each Votox letter And it de termines how many milliseconds to wait before sending each of these new notes Understand that all 4 notes in this case have the same pitch The MIDI data for the new multiple notes are sent from WordBullder back to PLAY Which generates the audio output corresponding to each Votox symbol at the time specified in the WordBullder UI In general many more MIDI events flow out of WordBuilder than flow in The following sections describe how WordBuilder gives you control over the various as pects of the outbound MIDI data so that you can shape the performance For the most part you are working in terms of words syllables and letters leaving it up to WordBuilder to translate your intentions into MIDI data the PLAY sample player can understand Chapter 4 WordBuilder 33 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT The Text Editor Near the top of the PLAY window is a large contro known as the Text Editor This is where you enter the text you want sung The following sections describe the many ways you can fine tune how this text will be sung The Text Modes To the left of the Text Editor are three buttons labeled English Pho netics and Votox The button lit in bright blue the Phonetics but ton in the image indicates which of the
105. otox sounds but do not affect the sounds themselves See page 75 for more info mation about these two modes when to use each of the two modes and charts comparing the two sets of vowels The Timers Tab The upper section of this tab Timers Resolution provides two slider controls For Notes you can set the resolution to any value between 1 and 10 milliseconds A similar setting can be made for the resolu tion of Control Changes any value Between sma tense ms 10 and 50 milliseconds Fine tuning these two settings allows the user to specify how often the internal engine will convey note and Control Change data through the MIDI output You should nor mally leave these settings at the minimum value but they can be raised when it is nec essary to conserve CPU processing or MIDI connection overhead Chapter 5 The WordBuilder Options Dialog 57 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT For example when cross fade is in progress the ear cannot really hear a small change in dynamics every 10 ms Therefore Note Volume and other CC data can be sent less often to conserve the processing power in the compute The Chord Timer set at the bottom of the tab permits the user to specify how far apart in time notes can be and still be considered chord that is referring to the same syi lable of text Using this feature is especially helpful when playing melodic lines on a keyboard in real t
106. phonic ChoirsWordBuilder Here you can find hints and discus sions about WordBullder and how to get the most from this software Hints We want to mention few things about the choir samples that may not be obvious These hints are the sort of thing you find being posted on our forum so please contribute there anything you find that may help others Mint 1 Normal Attack and Legato Attack vowels in the 4 adult choirs all have a hard staccato accent that kicks in at velocity 102 and above This means that independent of everything else if you hit the keys hard you will get strong attack This can be very use ul for fast accented passages When writing smooth lines avoid these higher velocities Mint 2 Unusual and non English vowel or consonant sounds can be created by layering vowels or consonants in WordBullder For example the French word Louvre be created in Votox with this text 100 wel In the first syllable overlap 0 and U so that they play together until note off To accomplish this overlap drag the ends of the horizontal bars in WordBuider s Time Editor In the second syllable overlap r and for a French R Experiment to find your own combinations and post what you find on the WordBuilder forum Mint 3 The Latin word maximus can be written either like this in Vota maX E 05 or like this maX SE mos In the second example the S sound within the syllable gets co
107. r D fw w wall awash 1 fnr fi orcs D j masi it SI hesh natn 1 comp figi y low yonder Keck coat z em piso 1 Te ess awison anm Chapter 7 The Phonetic Alphabets 78 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT sing the Symphonic Choir Instruments How WordBuilder Uses Multis Tables of the Multis in Symphonic Choirs The Component Instruments The Soloists Tables of the Soloist Instruments Click on this text to open the MasterNavigationDocument 79 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT Instruments Articulations and Keyswitches EastWest Quantum Leap Symphonic Choirs consists of bath the standard Choirs product and an optional Expansion product This manual includes information about both stan dard and expansion patches but clearly marks which instruments are only available to those who bought a separate license tothe Expansion product Using the Symphonic Choir Instruments The Browser displays two types of patches those designed to work with the speech build ing capabilities of WordBuilder and those that do not interact with WordBuilder The former are in the Multis folder and the latter are in the Instruments folder As you can in the image below the subfolders in the Multis folder include WB in the names asa reminder that they can only be used with WordBuilder Expansion Ow The subfolder Vota WB that you se in th
108. rall mix clarity To provide process headroom for this work a super resolution recording chain was used FM microphone responses extended to at least 26 kHz all signal paths had minimal discreta circuit electronics and conversions and files were at least 24 bit 88 2KHz We also recorded everything at 176 4kHz for future updates Hence the Gigabytes of data needed to access the sounds of instruments from different angles placements and distances The si channel high resolution fles containing close full and reverberant feeds can produce a real 3D orchestral sense like that from a good recording To do this simplified user commands or pre setable instrument placements replace outmoded pan and gain controls functions The new controls make complex adjustment of direct to reflected sound time phase relationships and equalizatins to track a section s place ment In this manner a section can be accented within the whole choir brought forward in the mix or moved off stage and the acoustic sound will correlate Recording Practice good recording setup often requires a close mic accent pickup to assist the ear in focusing on an important phrase in the polyphonic mix Once used the accent is of ten removed as only few of these spots are effective at any one time Sometimes a reverberation pickup is added or increased to restore a correct sense of hall response to instrumental and choral power Generally a good recording setup for a co
109. reuse it in a different project Starting a New WordBuilder Voice The design of WordBuilder when it runs within the PLAY window requires you to use a separate instance of PLAY for each voice In the PLAY window load the multi from the Browser or the Main Menu and in the WordBuilder UI add the text the voice will sing Note that everything in this chapter applies whether you re running PLAY standalone or in a host Everything works the same in both environments The first task to do within WotdBuilder when creating a new voice which you can think of as a new part with a choir for example the Alto part orm is to set the voice parameters In the upper left comer of the WordBuilder vers UL where it s labeled Voice click on the column labelled at the right This will open the Voice Properties dialog box as shown in the image at the tight Chapter 4 WordBuilder 32 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT Name the Voice with any text that tells you which voice you re looking at when you have more than one instance of WordBullder open at once For example if you have two sepa Tate Alto parts you might want to call one First Altos and the other Second Altos The Voice Type and Midi Out controls are not used when WordBuilder runs within the PLAY window They are disabled as a reminder that both settings are now controlled with in PLAY t
110. robotic fel After all what human sings every note exactly on pitch and at exactly the notated time The EWOLSO producers have selected which of these three approaches will be used for each vocal patch and how much variability to allow to achieve the most realistic be havior That is some patches randomly use all three approaches while others may use one or two of them Volume Velocity and Expression There are at least four ways to make sampled voices sound louder or at least make the real notes seem to have been sung louder One of these the dynamic cross fade was discussed on page 62 above Volume is just the loudness of the generated sound Changing volume is basically the same as tuming the volume knob on your audio system A soprano singing softly can be cranked up a soprano belting note can be turned way down Volume can be adjusted mid note that is the listener can experience a crescendo or diminuendo for a held note And as with a live choir the various parts are changing their loudness independently something you cannot do with the stereo s loudness knob Chapter 6 Using Symphonic Choirs in PLAY 65 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT Velocity a term based on how fast a key board player hits the Keys controls how forcefully the note is sung Adding force changes not only the loudness of the notes but usually also changes the notes timbre With a piano s action the vel
111. rticulation three scripts are in the default state set by East West If you want them to open with a diferent default you will need to save the ewi file that way and load your new version Portamento Button Portamento also sometimes called glissando is the technique of a continuous slide In pitch from one note to the next note in the phrase Portamento as used in this virtual in Strument is usually a short anticipatory movement between the pitches of two adjacent notes This technique is most common in strings the trombone the human voice and several other instruments that are not restricted to playing notes of the diatonic scale The effect of turning on portamento in a phrase is a subtle way to increase a sense of realistic singing Repetition Button Repetition in this context refers to the playing of a single pitch more than once with no different notes played between them in the same phrase Turning on this button causes repeating notes to sound slightly different avoiding the sense of mechanical repetition Legato Button Legato is the style of playing notes in a phrase with no significant silence between them in order to produce a smooth and flowing melodic line Use this button to turn on a legato effect for the articulation Round Robin Reset Button A round robin articulation is in which several different samples are recorded with all parameters such as volume speed of attack and so on being essentiall
112. rument become the settings for all instruments in this PLAY instance The processing of high quality reverb can be very CPU intensive and it is often the case that you want to use the same reverb on all the instruments in an audio track Engaging the Master Reverb button allows you to run a single instance of the reverb processor and have the effect apply to multiple instruments Chapter 3 The EWQL Symphonic Choirs User Interface 24 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT Voice Limit Control The Voice Limit control allows the user to specify the maximum number of voces to re serve space for in the computer s RAM Note that a ice in this context is the number of samples being played at once Some EWOLSC instruments routinely play more than sample at a time And the release trail for each note also uses its own voice It is not uncommon for a monophonic line to require 10 to 20 voces especially when play ing rapidly so that multiple release trails are playing simultaneously The best way to how many voce are required s to play the piece and watch the Voices display just above the right side of the keyboard The voice limit can be set to any whole number rom 1 to 999 The default value is set by EastWest for each instrument and can vary by library and instrument Setting the Voice Limit too low causes notes to end foo soon when PLAY is forced to stop already playing notes in order to start a new note
113. ry High Definition Compatible Digital encoding process produced and marketed by Pacific Mierosonics and acquired by Microsoft HDCD is widely considered to be the mast accurate recording process ever invented His 90 plus recordings have long been considered the standard for high fidel ity and include three Grammy award winners and eight additional Grammy nominations SOME REVIEWS OF HIS RECORDINGS How Johnson got that huge climax at the end of the Dances cleanly onto tape tran cends engineering and goes into the realm of magic Harry Pearson THE ABSOLUTE SOUND ith Johnson s engineering mastering and production have in this case produced the finest orchestral recording have ever heard Russell Lichter SOUNDSTAGE Chapter 1 Welcome 5 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT Credits Producers Doug Rogers and Nick Phoenix Recorded by Prof Keith O Johnson Custom recording equipment built and desi Prof Keith O Johnson Assistant Recording Enginee Rhys Moody Engineering and Mastering Nick Phoenix Editing Nick Phoenix Jared Selter Justin Harris Jonathan Marmor Pierre Martin and Arne Schulze Art Direction Steven Gilmore and Doug Rogers WordBuilder concept by Nick Phoenix and Nuno Fonseca WordBuilder software by Nuno Fonseca Software Doug Rogers Nick Phoenix Klaus Voltmer Klaus Lebkucher Patrick Stinson Stefan Kersten Toine Diepstraten Th
114. s in WordBullder There are two ways to specify articulations in a dialog box or directly in the Text Editor Kovanen Actually there 1s a Third way more consistent with other PLAY Tibrares You send the keyswitch notes directly instead of having WordBuilder translate your in structions into MIDI note events The note numbers are 24 25 26 and 27 respectively think of them as note names CO to DAO To open the dialog elect he ter whose articulation you wantto mrs specify This is done in the same way as in the previous section on Ten elek on the 3 da lips tothe of ar in the Letter control at the right of the WordBuilder user interface In the image at the right you can see its the same dialog box as C tmina Tor velocities but here we use the bottom half That means you ll can change both parameters at once if you choose to There ar options available for keysnitches Based on what you choose here WordBuilder will send the appropriate Keyswitch automati CS _ ce cally and at the right time The choices are Text Syntax use symbols in the text to specify the articulation of this segment This is the default Look for more on this option below Normal Attack the natural articulation of sung speech Legato smoothly connected to the following segment Staccato disconnected from the following segment Sliding Legato transition betw
115. se choirs Angels Demons and Frankenchoirs All three sets of samples were recorded simultaneously for each nate in the library Therefore there are predictable and natural delays in the time it take the music to reach the further mics This latency is part of the natural reverb of the hall and produces a pleasing fullness to the sound when the samples are mixed If you want to tighten up the reverb from the S samples it is possible with modern sequencers and mixers to adjust the audio track from the S samples a little forward in time Either perform a calculation using the speed of sound at sea level approximately 340 meters second 1100 feet second if you prefer o let your ears decide what works best The close mies of course have virtually latency only small amount necessary to retain the sonic perspective of the choirs in the concert hall If you don t use the close mics and you play something that requires very quick and punchy attacks you may no tice some small delay which can be cured by adding in some af the close mics In most cases you would want to use the close mics to add definition to a section The idea is to experiment until you find combination that works During sampling the simultaneous recordings from three positions were phase locked This attention to detail ensures that the samples can be bounced down to a single audio track without introducing phasing problems Many composers still work i
116. t in shaping a series of phonetic material into realistic patterns that the listener perceives as language Where some projects require intelligibility others may need only the perception that people are singing without the need for conveyed meaning The care you need to take with WordBuilder depends on where your project falls in that spectrum The success of WordBuilder in creating recognizable words and meaningful phrases re on the programming of phonetic cues Consonants often require the most care their duration and their volume relative to the nearby vowels are often the keys to clearly enun ciated and understandable words The use of small gaps between phonetic elements especially before an initial consonant can sometimes make consonants stand out more clearly Or the opposite technique overlapping the end of segment with the start of the next can integrate the sounds into more recognizable pattes The duration and loudness of a consonant are interdependent Often the longer the con sonant lasts the louder will seem and vice versa You should experiment to see how this works on real words Also the type of attack chosen for a vowel after a consonant will have a noticeable effect on the sound of a word There is no fixed rule except always to listen to the words spoken and then emulate what you hear Be prepared to adjust any aspect of each phonetic component especially intelligibility is one of your r
117. t of 4 folders The first 3 folders are provided when you install WordBuilder The lat folder My French Phrases was created by clicking on the New Folder button so you will not see that folder unless you add it yourself with the New Folder button Clicking on the Organize button opens your operating system s File System Browser sa you can make any changes you like to the folders and subfolders Included Latin Phrases WordBuilder includes selection of Latin phrases in two folders If you need to use one of them apen this menu and find the phrase in one of the folders You may need to adjust the timings and other fea tures to sult your piece or you may be able to use it as is The image at the right shows the More Latin Phrases menu open and the first few entries in that menu Included English Phrases WordBuilder also includes some English phrases already set up for you Feel free to use these if they fit into your project But you may also want to explore these phrases to see what they ook like in Votox The phrases do not necessarily use the default Votox spell ing but instead many have been adjusted to create a more singable phonetic spelling They are therefore good learning tool as you get familiar with Voto Adding Your Own Phrases If you have created phrases in another project M aa and want to import them into your list of stock sae phrases for this project click on Add to Phras
118. te in conjunction foreach choral section soloist or sample They provide a tull soundstage close focused sound not in Gold Edition the hall response not in Gold Edition All three pickup signals are synchronized to the choir s position for correct time phase arrival as well as pre equalized so they will ft into a traditional large scale mix with both other sections and instruments from EWOLSO In this manner other preset syn chronization and mix variations can be made to modify the placement of a section or soloist within the full sound of all choral parts and instruments Such automatic options are not only convenient but they perform very well and reduce processing requirements to help allocate computer resources to create the complex real sound of a good recording One Dimensional Samples Note that one dimensional sample even with extensive electronic support doesn t cre ate the varying spatial energy relationships that occur when singers sing diferent notes The reflected sounds from all the surfaces of a concert hall mix audibly in a good space to provide the whole listening experience Small room and anechoic samples lack this complexity a serious problem when attempting concert hall reality Convincingly com plex and therefore realistic sound radiation cannot be achieved with current sound processing software the EWQLSC sample library was made in a big space where mul tiple paths for reflections achie
119. th the Command button held dawn on the Mac Add as many nodes as you need to draw in the desired changes tis unlikely that you will want to draw complicated curves like the one above inside a single phonetic segment unless the choir is holding the note for a very long time In stead you may only be matching the position of the Mod Wheel as the choir progresses from one note to the next When dragging a node a small rectangle called a tol tip opens on the screen The x and y values locate the exact position of the node as it moves The x coordinate locates the node in time measured in milliseconds after the start of the note In the accompa nying screen shot the xvalue is 224 ms If you see negative values that only indicates hat the time is in the right pane controlled by the MIDI Note Off event and so negative values do not signify a time before 0 ms The y coordinate specifies the value of CCL on a scale from O to 127 In the screen shot the node in the upper envelope is being dragged with the mouse not visible in the im age The Mod Wheel at the third node is at a position of 46 about 36 of the maximum 17 You can use these y coordinates to match the position of an envelope at the end of one phonetic segment to the postion at the start of the next one if desired Its also possible that you may want to set the position at fixed value and leave there For example if you like the sound of the tenors at a Mod Wh
120. that makes up a syllable As was shown in the example on page 42 WordBuild er assigns the ee of sweet to start at about 175 milliseconds after the start of the note But if the tempo is fast the note could be over by then or the sw could take up most of the note s duration making it sound unnatural You could of course compute the number of milliseconds for each note and adjust the lengths of the sounds manually But there s much easier way The Learn button opens a dialog box where you can set two options The fist option specifies whether you want WordBuilder to adjust the duration of the phonetic segments Chapter 4 WordBuilder 44 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT called Change Speed mode or only to indicate the length of each syllable in the time line at the top of the Time Editor called Draw Only mode The second drop down list Apply To is really only applicable when WordBulider is being run outside PLAY i e in Legacy Mode In that case there are two options All Voices or Current Voice Select All Voic if this WordBullder is managing more than one voice and you want WordBuilder to learn durations for the syllables in all those voices Otherwise when WordBullder is running inside the PLAY window there only be one voice so the only item in the drop down list is Current Voice ort ee eee REE the color in the progress bar fills it completely Word
121. the center line of the concert hall for the Close mics any difference in timing is imperceptible Chapter 6 Using Symphonic Choirs in PLAY n EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT To fit properly in the soundscape the Close samples are programmatically panned left right to simulate their respective positions on the stage you can see that in the PLAY Interface But panning only affects relative volume of the two channels if you want to pin down perceived location even more strongly when using the Close mics its possible to time adjust the left and right channels separately to move the singers where you want them To reinforce panning the listener s left first remember that the direct sound in the mics is stronger than the natural reverb Therefore take its EQ ed left channel audio and move it earlier few milliseconds this will simulate the instru ment s sound arriving at the left mic first Also move its EQ ed right channel ater as if it took longer for the sound to get to the right microphone Reverse those directions to the sound to the right Surround Sound Samples not available in the Gold Edition Stereo Mixing When using the Surround samples for two channel mixes adding in a little of the lush sound of the S mies can convincingly convey the feeling of a live recording in a concert hall wel at least as much as any stereo recording can do that If you want a realistic concert hall sound
122. to Instruments and Multis in the browser as shown in the screen shot above Those in the folder called Multis ll load more than one Instrument file into PLAY and assign each instrument a unique channel number usually from 1 to 6 sometimes from 1 to 12 After loading one of these multis into PLAY if you look at the list of open instrument at the left of the Browser view you see that either 6 or 12 Instruments have been loaded for you in the image at the left And the numbers in the parentheses are the MIDI channel numbers By the way if you have not already changed the setting to Aulo Increment MIDI Channels in the Settings dialog box you should probably do so otherwise you may have to assign the separate channels to all 6 or even 12 instruments individually These multiple MIDI channels are nat the channels you set up in your sequencer or on your keyboard These are internal the channels WordBullder uses to send data to PLAY Feel free to set up the one channel assigned to this instance of PLAY any way you want WordBuilder will automaticaly use the type of voice in this example Sopranos when you insert WordBuilder into this instance of PLAY But if you are running WordBuilder in Legacy Mode you need to make sure the voice type of the multi matches the voice type you set up in WordBuilder Do be aware that if you change this carefully set up connection between the open multi and WordBuilder such as changing the
123. to inject dynamics Mint 11 We really recommend using Votox exclusively Once you get good at sounding things out and you learn the letter symbols it s powerful stuff Look for more hints like these and contribute some of your own in the Symphonic ChoirsWordBuiider section online at httpelww soundsontine forums com Enjoy Nick Phoenix and Doug Rogers Chapter 4 WordBuilder 55 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT 57 The General Ta 57 TheTimers Tab 58 The Voices Default Tab 59 The Events Tab Click on this text to open the MasterNavigationDocument 56 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT The WordBuilder Options Dialog Among the buttons at the right side of WordBullder s window is one named Options Clicking it opens the dialog box shown below From here you can change a number of parameters that affect the ways the program operates The General Tab The fist drop down list on this tab Sound Library defines the library of samples that generates the sounds At the time of this writing EastWest Quantum Leap Symphonic Choirs is the only library available x0 a second drop down list called Language you pen specify from what language the dictionary will translate to Phonetics The only dictionary available at this time is English There ate two modes in the Vowels drop down list English Mode and Latin Mode They affect the sym bats used for V
124. to open the MasterNavigationDocument 60 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT Using Symphonic Choirs in PLAY The EastWest Quantum Leap Symphonic Choirs Virtual Instrument to use its full name comprises two main parts WordBuilder and the PLAY software that actually creates the sound of the phrases set up in WordBuilder The last few chapters have been devoted to WordBuilder This Chapter turns the focus to PLAY ing Music with Symphonic Choirs This section of the manual describes how to take advantage of the musical and techni cal features of this sound library to create choral music that is expressive varied and realistic Without this control of the available parameters music created on a computer sound static lifeless and dimensionless Using the features described below is akin toa singer controlling dynamics phrasing and technique to interpret the music In other Words there s more to music making than perfecting the pitch loudness and duration of each note Plaj Instruments and Multis The various instruments in Symphonic Choirs fall into two types Individual instruments these include both soloists and selections of choral sounds that cannot be used With WordBuilder to form sung phrases Multinstruments these are the choirs in 6 different folders that work with WordBuilder and a seventh folder Vota if you own a license for the Choirs Expansion product See the ch
125. ts that too soft are preferable to consonants that are too loud Mint amp Use the Mod Wheel and CC 11 for expression It really helps See the sections starting on page 65 for more details Mints The preset default relationship in volume between the vowels and consonants in all the multis is supposed to be consistent That means that if you load the soft multi and create some text then decide to switch to the hard multi the vowel consonant re lationship should be the same In reality though there may be slight differences For this reason we recommend that you don t do final tweaking in WordBuilder until you have loaded the multi you plan to use in the final version Mint 10 i your choir is sounding fake Maybe you need to leave more space between consonants or perhaps make each con sonant longer overlapping certain consonants and possibly cross fading them Sometimes legato attacks can make things sound better or worse Sometimes you need to use slurred legato on the vowel to improve a consonant vowel transition Sometimes an accent a certain syllable is crucial to realism Hit the keys on the key board hard for an accent Chapter 4 WordBuilder 54 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT Sometimes it s good idea to fix MIDI velocity in your sequencer at a single value This can Improve smoothness and make editing in WordBuilder easier Use CC 11 and the Mod Wheel
126. ts that can provide extra realism to phras ses that take advantage of thelr benefits The Portamento script provides a sliding pitch between consecutive notes in a phrase This can be used to emulate the subtle portamento that occurs for example when a singer s voice moves upward or downward toward the next note at the end of a sound ing note but not full issando The Repetition script changes the quality of the notes when a single pitch is sung multiple times in quick succession Although similar to what can be achieved with the Round Robin patches found in other EastWest and Quantum Leap libraries the effect here can be used on any articulation The Legato script creates a more flowing and connected sound for notes in a continu ous phrase Note that this Legato script mentioned here is not the same as the Legato attacks de scribed earlier starting on page 39 They have a different sound and can be used separately or together Try experimenting with both to see what works best in your project The scripts themselves are not modifiable by the user but one important parameter can be adjusted using MIDI control code See details of how to use the con trol codes in the descriptions that follow In oder for a script to actively affect the notes in an articulation file the script must be activated in the PLAY user interface The image above shows two of the scripts turned on and the Repetition script left off In ad
127. tter appears in the three controls across the middle of the window as shown above where word English word with was selected At the same time the lower left corner the Phonetics and Votox symbols are stacked above the other creating horizontal lanes in this case 3 symbols 3 lanes Because WordBullder uses the Votox layer when dividing a syllable into its sung sounds it s the Votox symbols that are mapped to the colored bands to the right ofthe letters each band represent the duration of a sampled sound The user controls in this section of the interface are discussed in much more de tail in the section on the Time Editor starting on page 41 Setting Velocities for Letters The incoming note from the sequencer or keyboard has a MIDI velocity parameter and hat velocity will be passed through to the sample the PLAY Engine plays for each Votar letter that is unless you ask WordBuilder to change some or all of them If the English word fun is being sung a single note there three letters being played to enunci the syllable WordBuilder gives you the control to adjust the velocities on the Votox ind u and n separately Set the velocity for Voto letter by following the steps below Chapter 4 WordBuilder 37 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT Select the letter you want to work on by clicking anywhere in the horizontal lane for that letter in the Ti
128. ual pen in separate windows so you can refer to them both Chapter 1 Welcome 7 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT Online Documentation and Other Resources For the most up to date information visit the support pages at EastWests web site There you can find information made available after these manuals were written FAQ pages that may already list answers to questions you have suggestions from EastWest and other users of the EastWest PLAY System news about upcoming releases The address is hitp supportsoundsontine com You can als visit the EastWest online forums There you can read comments and ques tions from others who use EastWest products and post your own The many forum par ticipants are a good source of helpful information about both the technical and musical aspects of this software The address of the forums is http soundsonline orums com Chapter 1 Welcome 8 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT 10 The Design Point For the Symphonic Choirs Library 11 Original Edition and the Gold Edition 11 Recording Notes 13 Two Revolutionary Concepts 14 The Instruments in EWAL Symphonic Choirs 15 WordBuilder 16 What s Included 16 Hardware Requirements Click on this text to open the MasterNavigationDocument 9 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT EWQL Symphonic Choirs An Overview The Design Point For the Symphonic Choirs
129. ut the written consent of EASTWEST 4 Consent to Use of Data You agree that EASTWEST and its subsidiaries may collect and use technical and related information including but not limited to technical information about your computer system and application software and peripherals that is gathered periodically to facilitate the provision of software updates product support and other services to you if any related to the EASTWEST Software and to verify compliance with the terms of this License EASTWEST may use this information as long as it is in a form that does not personally identify you to improve our products or to provide services or technologies to you 5 Termination This License is effective until terminated Your rights under this License will terminate automatically without notice from EASTWEST if you fall to comply with any term s ofthis License Upon the termination of this License you shall cease all use of the EASTWEST Software and destroy all copies full or partial of the EASTWEST Software Limited Warranty on Media EASTWEST warrants the media on which the EASTWEST Software is recorded and delivered by EASTWEST to be free from defects in materias and workmanship under normal use for a period of ninety 90 days from the date of the original purchase Your exclusive remedy under this Section shall be at EASTWEST s option a refund of the purchase price of the product containing the EASTWEST Software or replacement of t
130. ve that you ll get a dif ferent pattern of 4 syllables nah fee vih ee Chapter Instruments Articulations and Keyswitches 90 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT EASTWEST END USER LICENSE AGREEMENT INCLUDES EASTWEST EASTWEST QUANTUM LEAP QUANTUM LEAP BRANDS PLEASE READ THIS LICENSE AGREEMENT LICENSE CAREFULLY BEFORE USING THE EASTWEST SOFTWARE AND AUDIO CONTENT THE EASTWEST END USER LICENSE AGREEMENT GOVERNS THE USE OF EASTWEST EASTWEST QUANTUM LEAP AND QUANTUM LEAP SOFTWARE AND AUDIO CON TENT COLLECTIVELY THE EASTWEST SOFTWARE BY USING THE EASTWEST SOFTWARE AND AUDIO CONTENT YOU ARE AGREEING TO BE BOUND BY THE TERMS OF THIS LICENSE IF YOU DO NOT AGREE TO THE TERMS OF THIS LICENSE DO NOT USE THE SOFTWARE AND AUDIO CONTENT IF YOU DO NOT AGREE TO THE TERMS OF THE LICENSE YOU MAY RETURN THE EASTWEST SOFTWARE AND AUDIO CONTENT TO THE PLACE WHERE YOU OBTAINED IT FOR A REFUND IF THE EASTWEST SOFTWARE AND AUDIO CONTENT WAS ACCESSED ELECTRONICALLY CLICK DECLINE FOR EASTWEST SOFTWARE AND AUDIO CONTENT INCLUDED WITH YOUR PURCHASE YOU MUST RETURN THE ENTIRE PACKAGE IN ORDER TO OBTAIN A REFUND IMPORTANT NOTE This software and audio ent may be used to reproduce materials Iis licensed which you own the copyright 1 General The EASTWEST software and audio content and any third party software includ ing any content documentation and any fonts accompanying this License
131. ve the sense of space appropriate to a concert hall Recording Engineer Prof Keith O Johnson Two Revolutionary Concepts The first of these revolutions actually began with the companion iran Est Wes Quan tum Leap Symphonic Orchestra but bears repeating here the recording of 3 microphone positions to achieve concert hall realism unparalleled in sampled orchestras not avall able in the Gold Edition This feature is described in detall starting on page 69 Chapter 2 EWQL Symphonic Choirs An Overview 13 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT The second revolution unveiled with EastWest Quantum Leap Symphonic Choirs is WordBuilder an application that lets the composer type sentences that the choirs sing A large part of this manual is devoted to various aspect of WordBuilder with an in depth ok at how to use the application starting on page 29 The Instruments EWQL Symphonic Choirs Nove This manual applies to both the basic Symphonic Choirs library and the Choirs Expansion add on The information that applies only to those who bought the license for the add on is clearly marked as being Expansion only Symphonic Choirs contains two basic types of patches which are grouped into 2 sepa rate folders called Instruments and Multis The latter is shor for mult nstruments The Instruments folder contains the patches that do not use WordBuilder to create pat terns of sung speech Each patch
132. xpansion instruments this size of the samples on the hard drive grows from 38 5 GB to 40 GB The Choirs Expansion instru ments are not available in the Gold Edition required item not usually Included is an iLok security key If you already have one from an earlier purchase of software you can use it Otherwise you need to acquire one They are available from many retailers that sell EastWest and Quantum Leap products or you can buy one online at www soundsonline com Hardware Requirements Seo he Play System manual for a complete list of the Hardware and Software Require ments for installing and running any PLAY System library In addition the available Space on the hard drive required for a ful installation o the Original Edition of EastWest Quantum Leap Choirs is approximately 39 GB Gigabytes or 40 GB If the Expansion instruments are installed For the Gold Edition the required space is 9 3 GB with no Expansion Pack available Chapter 2 EWQL Symphonic Choirs An Overview 16 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT PLAY 10 Important Note for the Multi Choirs 19 Master Controls 21 Microphones Controls 23 Performance Controls 24 Stereo Double Controls 24 Reverb Master 25 Voice Limit Control 25 Articulations Control 27 The Graphical Representation of the Envelope and the Curve Knob 27 The Browser View Click on this text to open the MasterNavigationDocument 17 EAST WEST QUA
133. y sample based product or other musical Instrument is strictly prohibited Indi vidual samples sound sets or audio loops may not be distributed commercially or otherwise standalone Furthermore these samples sound sets or audio may not be repackaged in whole or in part as audio samples sound libraries or sound effects or be used in any competitive product D The usage of Audio Loops compositions that contain a combination of sound samples that be repeated to form a continuous piece of music used in Music Production Libraries is allowed subject to the following 1 Loops must be used in a musical context with at least two ather instruments that contribute significantly to the composition 2 Te entire Loop cannot be eft exposed at any time in the composition 3 If you have any doubt a composition meets this criteria you may submit the composition to licensing eastwestsounds com for written approval Please do not send audio or files send us a link to your composition on your web server E You may not and you agree not to or to enable others to copy except as and only to the extent permitted in this License decompile reverse engineer disassemble attempt to derive the source code of decrypt modify or create derivative works of the EASTWEST Software or any part thereof except as and only to the extent any foregoing restriction is prohibited by ap plicable lau Transfer Restriction right to us
134. y constant The PLAY Engine then knows to alternate between the two or more samples during playback The goal is to avoid what s often called the machine gun effect in which playing the same sampled note repeatedly causes the unnatural sound of consecutive notes being mechanically ident Any articulation with RR in its name uses round robin technology Those with an or the like in the name use 3 4 or more different samples for each note Chapter 3 The EWQL Symphonic Choirs User Interface 23 EAST WEST QUANTUM LEAP SYMPHONIC CHOIRS VIRTUAL INSTRUMENT There s one potential problem with round robin technology and the way to solve it is the Round Robin Reset button The PLAY Engine remembers which sample should be played the next time the note sounds I for example round robin patch contains two samples A and B and a piece uses that note 7 times the PLAY Engine plays AB A BA B A the piece is played again from the beginning the engine will play starting with B because that s next in order The second rendition will be subtly different Being able to reset all round robin articulations to the beginning of the cycle allows for consistent playback You can use this button to reset all round robin articulations on demand Or use your choice of a MIDI note or MIDI control code to reset them one instrument at a time from a MIDI keyboard ar the data stored in a sequencer project See the description of the Set tings dial

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