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User Manual - Elliot Wright

1. b Minor Trill Tremolo Fluttertongue Forte 1 Forte 2 Effect 1 Effect 2 Expressive 5 with hard attack Expressive 3 Expressive 4 Expressive 1 Expressive 2 Default Staccato Default Sustain Port or Secondary Sus 32 The EWQLSO Sibelius 7 Manual Sound Set Templates User s Manual Elliot Wright Annexes p Master Key Switching Model Staccato amp Effects KSW Staff Model More information on how to access the Staccato amp Effects KSW staff is found in Chapter 4 When accessing the Staccato amp Effects KSW staff via the guidelines in Chapter 4 the KSW staff will behave by accessing a variety of Staccato and Special Effects articulations available to the specific instrument you are dealing with See Annex B for a listing of which special Staccatos and other Effects are available for the instrument with which you are working When the E Wright EWQLSO Mast Playback Configuration is Loaded Placing a staccato note on these spots on the KSW staff or preceding your key switch notes with the text Eff and following them with Norm will make ready the following articulations which will sound on the Sounding Staff when that staff is given staccato notes or a passage bracketed by the text Eff and Norm Effect 12 wr Effect 11 See Annex B for listings Effect 9 Effect 10 Effect 8 See Annex B for listings Effect 6 Effect 7 Effect 5 See Annex B f
2. 4 Go back to the Playback Configurations dialogue Under the list of available devices should appear the PLAY plug in If this is not the case there may be an issue with your system Consult Sibelius Reference and the PLAY User Manual for more information or consult the Sibelius Help Forums online Step 1 Install the Playback Configuration Files The Playback Configuration Files hold information as to which patches to load in which channels and which SoundIDs to assign to each patch Sibelius reads from these files upon start up and makes them available to choose from on a list of available configurations The Master Template works correctly when paired with the appropriate Playback Configuration Some folders described below are hidden by default See next page for instructions on making them viewable 1 Close Sibelius before beginning 2 In the package you downloaded open the folder Master Playback Configuration Files Select all the contents and copy them by pressing Ctrl C or Cmd C on Mac 3 Navigate to the appropriate folder below depending on your system and version of Sibelius as follows Mac OSX Sibelius 5 Navigate to Users username Library Application Support Sibelius Software Sibelius 5 Sibelius 6 Navigate to Users username Library Application Support Sibelius Software Sibelius 6 Sibelius 7 Navigate to Users username Library Application Support Avid Sibelius 7 Windows
3. Expressive patch A few notes higher up the top space of the space activates a secondary sustain patch which is well suited to forte passages The top line of the staff activates Tremolo or Fluttertongue if that articulation is available String Ensembles and Flute only The space sitting on top of the staff activates a Major or Whole Note Trill Add a flat b to the key switching note to change this effect to a Minor or Half Tone Trill Further to this the Lite playback configuration is interchangeable with the Master Playback Configuration You can write as much as you like in the Lite playback configuration and then switch to the Master playback configuration to open up more articulation options as you get more comfortable with the system or as you upgrade your system s capacity The Lite Playback Configuration only uses one type of KSW staff for ease of use It does not use the separate Staccato Effects KSW staff described in other areas of this manual When the E Wright EWQLSO Lite Playback Configuration is Loaded Placing a note on these spots on the KSW staff will activate the following types of Articulations for the Applicable Sounding Staff Major Trill Minor Trill Tremolo Fluttertongue gt Secondary Sustain Good for Forte Default Expressive Default Staccato Default Sustain Generic Held Notes 31 The EWQLSO Sibelius 7 Manual Sound Set Templates
4. and the key switches available to it with a descriptor on the left hand side to indicate what kind of sound that articulation represents in the Master KSW Staff Model This is followed by a listing of which specific pitches need to be entered on the KSW staff to activate them You can verify that you have the right pitch in Sibelius by entering a note on the KSW staff and looking at the information on the bottom of the window to see its note name and octave number The octave numbers in Sibelius and EWQLSO differ by one octave the numbers provided here are based on the Sibelius numbering You can also use these tables as a reference when building your own KSW Staff Model or assigning key switches for the Gold or Silver versions of EWQLSO By knowing which Platinum key switches have been assigned to play each articulation type you can assign your Gold or Silver key switches similarly Naturally two sets of articulations are available in the form of the Default KSW staff model and the Staccato amp Effects KSW staff model more info on using these two models is explained in Chapter 4 The articulations available in the Default KSW staff model are listed in the top section of the table and the articulations available in the Staccato amp Effects KSW staff model are included in the bottom half of the table The Lite playback configuration in this system makes use of only the Default KSW staff model and includes only th
5. hit roll synth random Sound ID Assigned wind saxophones alto normal wind saxophones alto staccato wind saxophones alto vibrato wind saxophones tenor normal wind saxophones tenor vibrato Timpani left hand right hand roll pitched percussion drum timpani normal pitched percussion drum timpani hard pitched percussion drum timpani roll WO jo N Din AJU N P nd eo Bass Drum hit roll wind saxophones baritone normal wind saxophones baritone vibrato PPR Q N P Triangle hit stifle roll wind saxophones sopranino normal wind saxophones sopranino staccato wind saxophones sopranino vibrato PR U Crash Cymbals hit stifle wind saxophones soprano normal wind saxophones soprano staccato P a Blank Blank 24 The EWQLSO Sibelius 7 Manual Sound Set Templates Elliot Wright Channel 185 MB RAM Instrument English Horn User s Manual Annexes Sound ID Assigned wind oboes english horn normal Contrabassoon wind bassoons contrabassoon normal wind bassoons contrabassoon staccato Alto Flute wind flutes alto normal wind flutes alto staccato Bass Clarinet wind clarinets bass normal wind clarinets bass staccato Piccolo Trumpet brass trumpets piccolo normal WO Jo IN Din DAWN Piccolo Flute Celesta wind flutes flute piccolo wind flutes flute piccolo staccato keyboard celesta Vibraphone Xylo
6. Click Apply and Ok to exit Step 2 Install the Template File 1 Inthe package you downloaded click the appropriate Template score see What s Inside above it is best to use the template labeled with the version of Sibelius you use and copy it by pressing Ctrl C or Cmd C on Mac 2 Navigate to the directory you used in Step 1 3 3 This time instead of Playback Configurations open the folder named Manuscript Paper on Mac OS X you will need to create this folder yourself Inside open or create the folder which best classifies the template or create your own and label it EWQLSO Orchestral or any classification name you like you can always come back and change it later 4 Paste the sib template file in the folder you just made by pressing Ctrl V or Cmd V on Mac You may also take this opportunity to rename the template as you like The name you choose will show up in the Quick Start menu when you launch Sibelius Step 3 Open the Template and Set the Playback Configuration 1 Start Up Sibelius At the Quick Start menu you should be able to find the template you just copied listed under a category with the same name as the folder you just put it in eg if you named the folder EWQLSO you will find the template under the heading EWQLSO 2 Start a new score using the template Avoid altering text like the Title Composer etc or inserting a pickup bar on your f
7. User s Manual Elliot Wright Annexes Master Key Switching Staff Model Default KSW Staff Model The Master Key Switching Staff Model is an expansion of the Lite model It keeps all the articulations of the Lite model in the same place on the staff while further accommodating the remainder of each instrument s available Key Switches In order to accommodate all possible key switches while handling them similarly across all instruments the KSW staff has been built to access two sets of key switches a set of Routine Sounds based on the Lite model and shown in the diagram below and a set of alternate Staccato and Effects articulations shown in the diagram on the next page More information on the two behaviours of the KSW staff and how to switch between them can be found in Chapter 4 The Default Sustain and Staccato key switches are located on the bottom space and the first line above it just like in the Lite version The next few lines and spaces ascending contain the various Expressive patches which have been arranged for the most part from shortest attacks appearing lower on the KSW Staff to the longer attacks listed higher up The Forte Trill and Tremolo Flutter key switches are also located on the same place as before In between a few commonly used special effects for the applicable instrument and some less common sustain styles are available by adding a sharp to c
8. harder one 2 Inthe Transport Window click Record The passage will playback Move the MOD Wheel up or down as desired to change the sound from soft to hard and back again Hit Escape or Stop when finished You can always Undo and try again if not satisfied with the result 4 When Satisfied select one of the pieces of MIDI text you just created and copy it to the end of the phrase setting its value to whatever your preferred default hardness is for rolls a good medium hardness is 64 w 16 The EWQLSO Sibelius 7 Manual Sound Set Templates User s Manual Elliot Wright Chapter 4 Runs Rips Slides and Other Concrete Effects In the Staccato Effects KSW staff for many of the instruments in this template there are several articulations available which are no longer Abstract like the others one note per key which can be put together into a greater whole but rather Concrete a singular recording of a multi note passage or technique Concrete Effects refers to those articulations which are activated by hitting and holding a single note but which play the sound of more notes such as grace note articulations slides rips etc The challenge with using these articulations is the accuracy of your notation It is important to remember that what comes through in the sound of your score should also be what is notated in the score The use of concrete effects means that you will only ne
9. if you wish to use one of these simply consult Annex A to find which channel in the Playback Configuration contains the desired patch then navigate to the applicable instance of PLAY in the Manual Sound Sets tab of the Playback Configurations dialogue click Show find the correct patch and turn on at least one mic position Remember to save your playback configuration preferably under a new name once you ve modified it from its original form so that it will load that instrument on start up from now on Simple Percussion includes instruments like the Triangle and the various Drums Each operates on a single line staff and consists of a small number of available sounds a hit sound is the default for all single line percussion A rim shot is available for some of the drums and a stifle for the triangle and cymbals which is activated by using an X shaped note head or a staccato marking over a normal note head Any standard tremolo or buzz roll marking will activate a roll if such an articulation is available on that instrument s EWQLSO patch Consult Chapter 5 for notes on the availability of certain sounds for percussion in EWQLSO Left and Right Sticking can be indicated using technique text overtop of the applicable note but will only create a noticeable playback effect on Snare Drum 1 and Timpani The Timpani has all the features of the Simple Percussion instruments described above but has the
10. out the passage you just made Undo and try again with different settings until satisfied Repeat steps 2 6 for each section of the passage which requires a crescendo or diminuendo To Add MIDI MOD Wheel Signals to a Timpani Roll Live Using a Connected MIDI keyboard Step 0 Connect Your MIDI Keyboard In the Note Input tab click input Devices If your device has just been turned on or is not in the list of available devices click Find New Devices When your device shows up on the list you may need to un check and re check the box next to it Move the MOD Wheel now and the Test light should light up If so you re all set Click Ok to get back to the score Step 1 Configure Sibelius to Allow Recording of MOD Wheel from the MIDI Keyboard 1 Inthe Note Input tab open up the options under Flexi Time 2 Under Existing Music select Overdub instead of Replace 3 Under Voices de select Record into Multiple Voices and then check the box for the voice you would like to input invisible MIDI data into preferably a voice you don t generally use in your regular notation go with 4 4 Click Ok Step 2 Input MOD Wheel Data Using Flexi Time and Your MIDI Keyboard 1 Select the passage Roll your MOD Wheel to the position in which you d like it to start Remember that down or low will give you a softer sound and up or high will give a
11. roll or other single held note which requires a noticeable change of dynamic within it Since PLAY and Sibelius cannot change the velocity with which a note has been hit once it has been hit we must use a plug in which has been fortunately included in Sibelius for just such an occasion When Approaching a passage where a dynamic change must be audible over the course of one or more held notes 1 Input hairpins and dynamic markings as you would normally to indicate the shape of the dynamics 2 Select the passage Open the Inspector via the Home tab Select Live Velocity and adjust it up to the velocity which will be used on the loudest dynamic in the passage unless otherwise needed a good value is 120 In the Play tab click Plug Ins and select Cresc Dim Playback 4 Follow the instructions to set the lowest and highest volume in the passage based on the guides provided in the dialogue box It is recommended that you select Above the Staff to make the resulting string of MIDI signals easier to select and delete if desired later Click OK when ready 5 Play back the passage to hear the result You can always Undo or select the string of signals using Shift Drag to select and delete then try steps 3 4 again with different values for highest and lowest dynamic to achieve a more or less exaggerated effect You can try steps 3 4 using C11 signals over top of your C7 ones for added effect 6 IMPORT
12. the same Playback Configuration while doing so and preferably use a lightweight configuration like Sibelius Sounds or General MIDI during this transitional task As a Best Practice Keep Scores Backed Up Anyway As with any pairing of two pieces of software combined with the many variables of the individual user s unique system and OS setup there is always the minute possibility of something going wrong and causing a crash Sibelius does auto save but it is always best practice to keep an up to date copy of your scores backed up on an external drive like a USB flash drive or backup drive Articulation Limitations Oboes and English horns do have a staccato articulation but this must be triggered manually using the KSW staff This is because in a Manual Sound Set there is no staccato Sound ID available for these instruments Therefore in this set of templates all key switches for Oboe and English Horn are triggered manually English Horn and Trumpet are both performed by two patches which occupy the same channel Each patch has blank key switches loaded in places where the other patch has actionable key switches in order to semi automatically de activate its own active key switches when the other patch activates one of its active key switches This method was chosen in order to accommodate all available key switches for this instrument Snare Drums 2 and 3 do not have a rim shot articulation like Snare Drum 1 does As a r
13. uipisns 3nofaq z ULEISNS HOdH 01e22e3s 1 nejeq xoeny ous T aAisseJdx3 yey winipay z A ss 1dx3 yoeny Jasuo aAisseJdx3 o eny 1se3uo t aA ssaJdx3 NO env peiua2oy S A ss 1dx3 T32943 212943 T pno1 31103 z pno1 2331103 Jopn 4 o joue 41 41 JOUIW Qe y SSD 2 uonp nonav 29 er s Manual S U S e et Templat ndS jou 7 Manual S O Sibeliu QLS Nrig W n he E Elli EXYYDILIS EXYY2I LIS GXYY2I LIS 03022015 1 np q 24128ds 3usuinaisu z o1e22e1sg De eN eN T umog dn 8U7q IAEN T 01e24e A z umog dn Z 01e240 A OIEIICIN sdiy S 32943 S Je3 9 12243 L 122343 dN 9P S PAB 8 12243 2S 19 29ST 6 1294 3 594 DIS Z OT 12243 153 295949 19nn 4 TI 3122943 JayN 4 25815 DAS CT 12943 Sa1sng ga SNS bajo 33 0 OV uipjsng 3jnofag sns EXYYDILIS Od Od c uleysns 11Od YYDI LIS EXYYDI LIS GXYY22 IS 08 01e22e1s 1Jnejeq De 82 dx3 Sa1sng q A O T3 yoeny wous T aAlssaidxy q Adx3 yoeny WNIPalN Z A ss 1dx3 dx3 Ta yoeny 13u07 AI Ss 1dx3 yoeny isesuo y A ss 41dx3 I3 3 euy p 1u 22Vv S AISs 1dx3 2591 YS sseg I4 T way c 122343 sns I9 T pno 21104 z pno 331103 TV Jayn 4 ojowas IHL JOUIW 1814 Ig IHL soley sns ain sns MIN CI 12943 o CHI T 12943 V SSD 2 uol1p n2 11V CHI 30 The EWQLSO Sibelius 7 Manual Sound Set Templates User s Manual Elliot Wright Annexes Annex C Diagram The
14. unresponsive for a few moments this is normal and indicates that Sibelius is in the process of saving the configuration To avoid crashes do not disturb the program by clicking Close until after the Save button has returned to its normal colour There is a difference between saving the score and saving the configuration To save the configuration use the save button located in the Playback Devices dialogue The EWQLSO Sibelius 7 Manual Sound Set Templates User s Manual Elliot Wright Chapter 2 Creating a New Score Now that the Master Template resides in your Manuscript Paper folder you can create a new score from the template using the Quick Start menu in Sibelius 7 or by starting a new score from Manuscript in earlier versions of Sibelius 1 Open Sibelius When the Quick Start menu appears locate the E Wright EWQLSO Master Template and click it 2 If this is your first time running the template keep the Title and other text unchanged Do not change the instrumentation yet If desired you may take this opportunity to assign a Tempo Marking Key Signature or other information before clicking Create 3 Once the score has loaded go to your Playback Configuration under the Play tab in Sibelius 7 and ensure that E Wright EWQLSO Master or Lite is selecte 4 f your computer cannot handle the full load of the Master or Lite for lower powered systems or Gold S
15. 43 CW T pno 2334103 z pno 334103 J2933n 4 0 o0uJ9J IHL JOUIN 3214 IIL sofew 12943 t 12943 SSD 2 uo 1p n2 1iV 44235 Sulyoums AaY so1e22e1s 7B 51224J3 y SuIsn USUM 2 D 2 c m 2 us 2 D o D Ls RT c D lt 7 Oo 2 us 7 c tl 27 User s Manual The EWQLSO Sibelius 7 Manual Sound Set Templates Annexes ht g o Elliot Wri YHJCIN eN YY MEIN YY 9e1S 03099035 3Jnbfaq Yy oneoidg 31jyI eds3uauinajsu z 04299287S Yue a N Hew q n HEIN T umoq dn ugdx3 YY PJH We P4H QIAUON 2J8lIN T OZEIIEIN z umog dn dndx3 7 0182JelA OIEIILIN Anis 512943 dn p is pS 9 12243 uy oua 09 YY ou8 1 09 YY ou8 1 09 YY 0u3 7 OD L12343 dn epis eag dn P IS eng 812943 Ud p ls q 8 612943 OT 12943 TI 12943 CT 312943 qiAsns U1oouus QIASNS qiAsns 33 0 uijsns 3jnofag QIAUONSNS QIAUON YY qIAUON Se1sng c uteisns 10dit UH2JE8IA de uH HEN YY DEIS 0je ejs 3jnejoq dx3 q Adx3 YysgIindxa 8a1 dx3 x envy HOUS T eAIsseJdx3 cdx3 rdx3 yoeny uunipelw Z A Ss 1dx3 E214A dx3 mog qq Tdx3 d dx3 yoeny 13u07 AISs 1dx3 3937147 mog qq dxa 25349 dx3 yoeny 1se3uo y A ss 1dx3 Sa1dx3 Sa1dx3 zdx3 yoeny pe1ue2oy s aA 1ssaJdx3 uadxi Ys QIASNS 132943 dndx3 3S QIAUON 232943 Sa1sng P4H QIASNS T pno 91104 qIA82 7 pno1 31403 Ja3n 4 0 jow 1H IHL 1H IIHL IHL JOUIIN 3814 LM 1141 LM IL IL sofew Jn s PHI t 12943 SSDqD41UO OJOS 0 29 ojos DJO
16. ANT It is a good idea to select one of the pieces of MIDI text and copy it to the end of the phrase when you re done Adjust the value it will read C7 The is the value to the same value the instrument was operating on before the passage started You can check what value this is by going to the beginning of the score and checking the C7 text placed beside the instrument s name By doing this the instrument will continue to play at the same MIDI volume as it was before the cresc dim Passage making the playback more coherent di 15 The EWQLSO Sibelius 7 Manual Sound Set Templates User s Manual Elliot Wright Chapter 4 Timpani Rolls have an added feature for using crescendo diminuendo playback The patch used for rolls is a dynamic crossfade DXF patch which means that you can use MOD Wheel signals to change the sound from a soft to a hard sound This does not affect the actual loudness of the roll just the apparent hardness or softness of the mallets hitting the drum This crossfade can be combined with the aforementioned crescendo diminuendo practices to create a more realistic sound Bear in mind that any notes including Timpani rolls which are not connected by a slur or tie will be played with a small gap between them as detached notes To keep your rolled notes together connect them with slurs or ties You can always hide a slur or tie by hitting Ctrl Shift H or Cm
17. Elliot Wright s EWQLSO Sibelius Manual Sound Set Templates A Hybrid Approach to Controlling Your EWQLSO Patches with Sibelius Elliot Wright User s Guide i 2 Rele i The EWQLSO Sibelius 7 Manual Sound Set Templates Elliot Wright Table of Contents Legal Preface Preface License Agreement Prelude A Word on The Nature and Growth of These Templates The Difference Between This System and Automatic Sound Sets Things to Know Before You Begin Getting Started What s Inside Installation What to Expect on Your First Time Loading Creating a New Score Trimming Your Orchestra Converting Existing Scores Using the Manual Key Switch System Overview of the Key Switch System The Template at a Glance Features and Abilities Semi Automatic Sound ID Changes Working With Instruments The Basics of Key Switching Working With Percussion Preparing the Final Score Key Switching Techniques Tremolo Trills and Fluttertongue Activating Tremolo amp Fluttertongue Smoother Tremolo Transitions Key switch vs Text Activated Activating Trills Accessing Additional Staccato amp Effects Options How to access the stacc effects staff 2x Instrument Addendum iv N N P P oO O 0 N Ui A 11 11 12 12 13 13 14 14 14 14 14 15 15 15 User s Manual The EWQLSO Sibelius 7 Manual Sound Set Templates Elliot Wright Crescendo Dimimuendo Playback For Pitched Instruments Timpani Rolls Runs Rips Slide
18. Extended KSW Model for Bass and Treble Clef This diagram shows where to place key switching notes on the KSW staff to achieve a variety of effects and attacks This pattern is adhered to as much as possible across all patches but may have some exceptions as outlined in Annex B It is best to have Annex B on hand if needed if you are looking for a specific articulation or if you need to troubleshoot Lite Key Switching Staff Model A Playback Configuration called E Wright EWQLSO Lite has been included in this package for less powerful computers or newer users or users who do not require the full range of key switches The configuration comes loaded with only the most essential sounds and consequently requires very little memorization on the part of the user When the Lite Playback Configuration is loaded all KSW staves in your score will behave in accordance with the model staff below when you place a note on any KSW staff it will activate the articulation described by the diagram below The Default Sustain a generic all purpose set of held notes is activated by placing a note on the bottom space of the KSW staff A note has been placed here by default at the start of the score template to ensure no playback issues occur when playing back from the beginning of the score Directly above this on the second line from the bottom is the key switch for the Default Staccato The second space from the bottom activates the Default
19. IA OJOS ZB T ui oIA ojos ssp 2 uoip nonav 28 User s Manual The EWQLSO Sibelius 7 Manual Sound Set Templates Elliot Wright Annexes EXYYI9 els eN Belo 6aquod XYYIIEIS 8 1dx3 8 1sns 1s4dx3 39UI4D I ssog txuu eis ov QUAUONSNS 4418970 xq a n ung 1nl4 OV EXYYIIEIS S9JON 29219 Ss D BSNS Za Mod Se1dx3 1ousdx3 dx3 o1e82 uoosspqpJjuo EXYYIIEIS Bajo Ba7sns EXYYDIEIS S8e1dx3 Musdx3 25s2158u1dx3 QIAUON LM IL uoosspg S 1ON 29219 dnuny eng Nquny eag q n uny eng BSNS 30d 2e1S Se1dx3 yse4dxq 2s941 0 Sdx3 SION 22219 QIAUONSNS 820 1H dnuny eag Nauny eng jeuun qiAsns EXUYIEIS dx3 Se1dx3 QIAUON 928415 u40H ysij6uz Bajo BSNS EXYYIEIS Se1dx3 qu da ddx3 QIAUON 29219 zs q AsnS eS e1S HUS S 1ON 92815 Wes YY NG unu ou3 sd dnuny eng Nauny eng q n unu eng Bajo 8 1sns IAS Bau Jesu S8a1dx3 dx3 MOJS cdx3 MIS S 1oN 92845 Wes qiAsns Jenn AH IHL EXYY eis ov ssi 1124 OYSASA dnuny eng Nquny eng q n unu eng pe dn sdiu ig dn sdiy qiAsns BSNS XYY 2281s dx3 39 dx3 QIAUON SNS Ss D amp 3 OY9ASA 82 0 LM NHL dnuny eng Nauny eng 03099035 1 nofag 214199 dS QUALUN JISU z 01e22e1s T uwoq dn T ede Z umog dn T 01e2Je A 01e2Je A S129JJ3 91322343 Leys 812343 612243 OT 312243 TT IH CT 122993
20. Set Templates User s Manual Elliot Wright Chapter 1 The Difference Between This System and Automatic Sound Sets If you wish to use a third party sampler like EWQLSO to help realize your scores in Sibelius without having to purchase and include a separate sequencer program in your workflow there are two main ways you can go about it Automatic Sound Sets and Manual Sound Sets A Manual Sound Set is a function built into Sibelius intended for the use of one or more third party sample patches to play specific instruments in your score More information is available in Sibelius Reference on this subject A Manual Sound Set uses one virtual instrument patch per channel which normally equates to one articulation legato staccato pizz etc being available to represent each Sound ID and normally the limitations of this as far as expression and flexibility should be clear to anyone a normal manual sound set is usually seen as rigid allowing a limited number of SoundIDs and only one patch for each An Automatic Sound Set or a Sound Set File comes in the form of a prepared file with an accompanying playback configuration and usually an applicable House Style File which when applied all together to a score address as much technical information in the sample library as possible giving Sibelius instructions on how to treat the various markings and notations in your score The result is a system which behaves on the surface much like an ord
21. XP Sibelius 5 Navigate to C Documents and Settings username Application Data Sibelius Software Sibelius 5 Sibelius 6 Navigate to C Documents and Settings username Application Data Sibelius Software Sibelius 6 Windows Vista Windows 7 Sibelius 5 Navigate to C Users username AppData Roaming Sibelius Software Sibelius 5 Sibelius 6 Navigate to C Users username AppData Roaming Sibelius Software Sibelius 6 Sibelius 7 Navigate to C Users username AppData Roaming Avid Sibelius 7 4 Open the folder titled Playback Configurations Paste the files you copied earlier by pressing Ctrl V or Cmd V on Mac The appropriate files are now copied The EWQLSO Sibelius 7 Manual Sound Set Templates User s Manual Elliot Wright Chapter 2 Side Note Hidden Folders and How to Display Them In Mac OSX 10 7 onwards the User Library folder is hidden by default In the Finder select the Go menu and click Go to Folder Type in Library You can now Option Click the Go menu and it will display the Library folder In Windows the AppData folder or Application Data folder in XP is hidden by default In any Windows Explorer window select the Organize drop down menu and click Folders and Search Options or use Tools Folder Options in XP Go to the View tab Under the list of advanced settings select the option labeled Show Hidden Files Folders and Drives
22. added feature of using MOD Wheel data to assist with Crescendo Diminuendo playback during tremolo roll passages More information on how to improve playback on Timpani Rolls can be found in Chapter 4 under Cresc Dim Playback As with Simple Percussion Left and Right sticking can be achieved by placing Technique text L or R above the affected note This text can also be hidden using a placed before the text to achieve a left right pattern without visible mark up In General write as you would normally for percussion but be aware of the limitations of what sounds are available to each instrument again see Chapter 5 for notes on this Avoid unconventional notation as this may not necessarily play back as expected automatically Preparing the Final Score The Master Template makes it easy to switch between the somewhat messier Technical Overview page to your clean finished score view Simply navigate to the Finished Score tab or select it in the Dynamic Parts menu by right clicking in the space next to your current tab or left clicking the button in the upper right of your screen and selecting Final Score from the list The default setup in the Final Score view may not contain the exact instruments you want though Resolving this is very simple 1 Open the Final Score view Then go to the Layout tab and de select Focus on Staves 2 Go to Panorama mode to make the staves more mana
23. arious effects that the different key switches can have on the sound of the instrument Lesson 2 Unlike an Automatic Sound Set the key switches you input in this system operate separately from their Sounding Staff Here is an example you can try using the short phrase you just built 1 Select just Piccolo staff with the little phrase you wrote and press P to play the selection The notes play back using the last key switch that was played if you re following the steps exactly it should be the Staccato sound 2 De select everything Click the default quarter note on the bottom space of the first bar of the Picc KSW staff then click any note on the Sounding Staff to hear it play using the Default Sustain sound The lesson here is this Since the KSW staff affects the sound of the Sounding Staff and does so independently of the Sounding Staff it is important to get into the habit of selecting both the desired Sounding Staff and its KSW Staff before hitting P to hear how the phrase will sound this tells Sibelius to play both the Sounding notes on the Sounding Staff and the notes coming from the KSW staff which operate the key switches of that instrument s EWQLSO patch Since any note in the score will only play back using the most recently pressed key switch for that instrument and because a phrase you may wish to hear over and over may not end on the same key switch as it started with it is prudent to place a note on
24. arts Although any good composer knows to check their dynamic parts carefully before publishing you may notice that all parts have been pre formatted to an 8 5x11 page with a reasonable staff size to start you off None of the KSW staves have been included so you don t need to worry about them messing up your parts lists or being accidentally printed at publishing time Instrument Panning and Volume In instances where two instruments of the same type are included the second patch has been panned slightly to imitate a second player or section and their volume turned down ever so slightly to indicate a smaller section Each patch loads by default with only the Stage Mic positions and without reverb settings loaded to save on RAM but you may of course tweak the sound of each patch as much as you like to suit your preferences once the playback configuration is loaded 11 The EWQLSO Sibelius 7 Manual Sound Set Templates User s Manual Elliot Wright Chapter 3 Semi Automatic Sound ID Changes Although these Manual Sound Set templates operate on the principle of increased control through manual control some routine sound changes are still automatic All brass and woodwind instruments can detect and switch between Staccato and Sustain notes as marked in regular notation without the need for additional instructions All string instruments can switch between Sustain Staccato Pizzicato and Mute Sordino where available
25. be able to create KSW staves under each Sounding Staff and wire them through the mixer to the appropriate PLAY channel after loading the E Wright EWQLSO Master Playback Configuration The result in theory would be full functionality of the system within the same original score but the work and complexity involved in this operation may not be worth the time and effort for most users 10 Chapter 3 Using the Manual Key Switch System See also Annex C Consider printing the Annexes for quick reference during your work Overview of the Key Switch System The Elliot Wright EWQLSO Sibelius Manual Sound Set Templates operate somewhat differently than typical Sibelius scores to achieve their playback The system functions like a MIDI Sequencer in which every instrument s staff constitutes a MIDI channel while maintaining Sibelius outstanding scoring and engraving capabilities The system works like this Each instrument s main staff referred to in this manual as the Sounding Staff is accompanied by a small staff below it referred to as the Key Switching or KSW staff which is silent and hidden in the final score and parts While the notation which will be visible in the score is inputted in the sounding staff much the same way one normally would the User can take advantage of the KSW staff to secretly play the key switches in the appropriate instrument s Master KSW patch The result is the hands on feel of a MIDI seq
26. ble this Software without written consent of the Author and will only distribute the Software subject to the Author s terms Except as otherwise outlined in this License Agreement you will not make assign transfer sublicense sell loan lease rent donate or give away copies of the Software It is the responsibility of the User to ensure that their copy of the Software is not accessed copied or used by others You will not make the Software available on any form of internet server file sharing network Cloud based storage system or any other location where any other person could potentially acquire a copy of the Software You will not circumvent or remove or attempt to circumvent or remove any protection watermark or other methods used to detect limit or otherwise prevent unauthorized use of the Software You will not use the Software in any way which violates or attempts to violate copyright law You further agree not to use the Software with any other product digital goods service or other goods for which you are not licensed or otherwise legally permitted to use Disclaimer 14 15 16 17 The Software is licensed as is and without warranty of any kind The Author makes no guarantee to you that the Software will meet your needs or expectations be free from error or that operational or functional defects in any part of the software will be corrected You expressly agree that your use of the Software in any form is a
27. d Sample A window will open Along the top of the window will be the path that PLAY is looking for You will notice hints like Platinum Winds Brass Strings Perc which indicate which library you need to locate and that the sample is in the Platinum Samples folder inside that library Locate the desired library on your computer From there simply follow the path at the top of the window to guide you through to the desired folder When you reach a folder with apparently nothing in it or nothing but ewi files in it do not select anything in the folder just click Select Folder Repeat steps 1 2 every time the error message appears For larger multis and playback configurations this may happen several times on the first load Stay calm it is the only frustrating part of setting up the system SAVE THE PLAYBACK CONFIGURATION BEFORE CLOSING SIBELIUS OR SWITCHING TO ANOTHER CONFIGURATION Once the configuration has loaded you can prevent PLAY from asking for these locations next time by saving the playback configuration In the Play tab on the left click the arrow under Setup This brings up the Playback Configurations dialogue Click Save This will save the configuration along with all its instructions on where to find the samples in future Side Note Saving Playback Configurations When saving a large configuration like the Master configuration the Save button will darken when clicked and the window may go
28. d Shift H on Mac To Add MIDI MOD Wheel Signals to a Timpani Roll Manually Using a Plug In 1 Follow steps 1 6 on the previous page for inputting Cresc Dim Playback 2 Insert a Line over each section you would like to hear a singular change between hardness and softness usually a phrase covered by one hairpin or cresc dim line by selecting the passage hitting L to access your line library and selecting line a generic simple line 3 Select the section with the line over it In the Play tab under Plug Ins select Add Continuous Control Changes 4 For crescendos from soft to loud set Value 1 to 1 and Value 2 to 127 Reverse these values for decrescendos from loud to soft Low values 1 64 generally will produce a soft mallet sound while higher values 64 127 will produce an increasingly harder one Value 1 indicates which value the passage will start on and Value 2 indicates which value the passage will end on 5 MPORTANT Select Controller Return Enable especially if the passage you are working on is the last one in the affected passage and set the value to whatever hardness or softness you would like the next roll to sound with If you re unsure just set the value to 64 as a good general default This will ensure that the next roll whether a cres dim or not will playback with a good medium hardness It s like an automated form of Step 6 on the previous page 6 Click Ok Test
29. d by Norm or arco at the end of the phrase The text will activate an automated Sound ID change sending the passage to the smoother sounding standalone tremolo patch In keeping with proper notational practices you should hide these pieces of text as regular tremolo markings will suffice Using a slur as described above can further help to smooth over the note to note transition Activating Trills Most instruments can trill in major whole tone or minor half tone Place a key switching note directly above the top line of the KSW staff This will activate a major trill by default If you want a minor trill add a flat accidental to the key switching note In keeping with proper notation practices remember to place the appropriate symbol above the affected note to indicate a trill this should not affect the playback e o Solo Viola e f d f i ini Minor Trill S Vla svi Just like tremolos Sibelius should not perform a trill ie Play two separate notes alternately but should automatically hold the affected note down solidly allowing the sample to play back clearly If for any reason Sibelius appears to be performing a trill select the trill line or symbol above the affected note open the Inspector and un click any check boxes under Playback including Play On Pass and any boxes associated with Trill Instruments in this template which do not
30. d the samples with recordings of live musicians playing on a click track noticed problems in the orchestral balance melodies and textures which had sounded fine using Sibelius Sounds were less defined even muddy in live performance The orchestral balance was off and part of the problem was that had fallen for the common mistake of young composers writing for the sounds the act of modifying a computerized score until it sounds right with the notation software s pre packaged sounds in turn creating a score which sounds imbalanced in real life While launched myself into books on orchestration to refine my personal technique also realized that my coming experiments in orchestral balance needed a set of sounds in Sibelius which might better represent a real orchestral performance knew how to build a manual sound set and had been learning about EWQLSO for some time it only made sense to combine that knowledge and put together an EWQLSO Manual Sound Set After several small experiments on a medium power computer system was having difficulty accessing the full spectrum of available articulations in the library using a purely SoundID based approach eventually had a breakthrough though in the form of my Key Switching Staves idea which takes advantage of Sibelius Panorama function to treat Sibelius more like a sequencer to play the patches with intimately personal control As 2010 drew to a close the possibility of a comp
31. e following Articulation types for any given instrument Default Sustain Default Staccato Expressive 1 Forte 1 Tremolo Flutter Major Trill and Minor Trill 26 User s Manual The EWQLSO Sibelius 7 Manual Sound Set Templates Elliot Wri Annexes ht p o ug dn x ino q n Hew Sa1sng od ug dn x ino YSQIASNS Sa1dx3 dx3 1s4dx3 sdejs q Asns O OUJ9J CHI CHI YY Je a n WHEN 08 q Asns Hod YY De S4q 49XJ Ss41 41qx4 1 1 dx3 qin dx3 2531 dx3 ZZld o11eg YY ou8a Jo5 5910 O OW3IL AH HHL LM IHL dd 2681s OV a n ueW 08 Hys We Sa1sng 590 yy DIS Sa1dx3 MO S dxg 23y 82 dx3 1nej4 39 0 YY ou8a 09 sns yse4 dx3 O jowa AH IHL LM IHL YY ZZId yoWWeY YY 281S uu cds ug dn ino 24elN A N HEN q n Hew diy ouoAsq dn p IS yS Ud P IS S SJa1sn 2 X4 uxeos Sa sng 83 0 YY DEIS 8231 41 VIA SPIN dx3 uigdx3 1nej4 8e O uu ou8 1 JOD q Asns u3e1 q pueJ5 O OUJ 1l LH IHL LM IL Joye NW IS uny SIIUOWJEH II 79 SUIOIN 03022015 1 np q 3119 ds tu uinia1su z 04229243S T umog dn T eose z umog dn Z 01e248 A OLEDILIN S 929444 9 199444 L 12943 812943 612243 OT 12943 TI 3294 TT 312943 uipjsns nofoa c Ulersns 30d 01e22e3S 1 neJ q yoeny 140us T eAissaJdx3 yoeny uunip l Z e isseJdx3 yoeny 4e8u0 aAisseJdx3 yoeny 1se3u0 y AI Ss 1dx3 yoeny pajuassy G aA ssaJdx3 1329
32. e encountered a great deal of interesting if sometimes very frustrating puzzles regarding how best to set up a system that works not only for me personally but for others as well not to mention one which conforms comfortably to the tools in Sibelius If nothing else hope that the act of working with this system has at least expanded your understanding of this portion of the Sibelius notation program as well as the EWQLSO library itself and has perhaps even given you some ideas for your own manual sound set It is my hope that this system may be used to help you create a more realistic audio mock up of your scores with as little complication and frustration as possible do of course realize that a manual sound set by its definition requires far more work from the user than an automated one but see this additional challenge as providing a personalized level of control for the user am as intend to remain a one man operation and as such am not intent on a great deal of profit from this project would love very much to see and hear the no doubt exciting new pieces and transcriptions you will produce with this system to that end would encourage you to share your works on YouTube or other online mediums and tag link to credit or mention me and this system in the description video or title if you feel that this system at all helped you You are of course not obligated to do so but am always glad to see what this sy
33. e this template in its current publicly available form and sincerely hope that you will enjoy the results This manual is intended to guide you through the process of installing and using these templates A Word on The Nature and Growth of These Templates In autumn 2008 was presented with a problem which l m sure you ve come across yourself encountered a situation in which needed to create a realistic audio mock up of some of my existing scores but found the factory included Sibelius Sounds to be too unrealistic to achieve this For me the solution was to purchase a third party sample library but quickly found to my dismay that connecting my score to my samples was more difficult than simple plug and play spent a few months learning about how to assemble a basic manual sound set which used to marry patches from Peter Siedlaczek s Complete Classical Collection to my existing scores ruining the transposition settings and spacing of the score in the process Shortly after finishing my project discovered EastWest QuantumLeap Symphonic Orchestra EWQLSO which I purchased and set about toying with and learning about EWQLSO s placement of each instrument s playable range in the appropriate place on the MIDI keyboard immediately solved the transposition problems l d had with the Siedlaczek library Despite this another problem emerged from my score realizations As listened to my carefully prepared tracks I combine
34. e those of the author alone and not of any of the software developers or relevant companies All product and company names are trademarks or registered trademarks of their respective owners This document is Copyright 2013 by Elliot Wright All Rights Reserved Elliot Wright has no affiliation with Avid Technology Inc EastWest Studios or any other company mentioned herein or involved in the creation or distribution of similar products or Sound Sets info ElliotWrightMusic com www ElliotWrightMusic com The EWQLSO Sibelius 7 Manual Sound Set Templates User s Manual Elliot Wright License Agreement 1 The digital goods contained in this package the Software are subject to a License Agreement between you the User and Elliot Wright the Author Please read this agreement carefully The Software is licensed not sold Your right to use this Software is stated in this License Agreement The Author retains all rights not expressly granted to you in this License Agreement Purchasing downloading or otherwise possessing a copy of the Software on any media constitutes your acceptance of these terms and your agreement to be bound by their conditions If any provision of this License Agreement is ruled invalid by any court of law having the jurisdiction to decide on this matter that provision will be removed from the License Agreement The remaining provisions will continue to be valid and enforceable Limitations of Licen
35. e you wish to copy over If Sibelius asks you whether you would like to switch to the score s original Playback Configuration click No 3 Once the original score is open go to the Play tab and ensure that the same playback configuration is selected as in the Master Template 4 Add bars bar lines key and time signatures rehearsal marks and tempos to the Master Template until it matches the structure of the original score 5 Copythe contents of one instrument for example the Flute staff only by triple clicking an empty space in any bar of that part and hitting Ctrl C or Cmd C on Mac 6 Go to the Master Template and paste the part onto the appropriate staff It helps to add an extra bar at the beginning of the Master Template and paste the original part into bar 2 of the score this prevents the initial MIDI Volume text from being overwritten and then re write bar 1 of the piece and delete the superfluous bar 2 when you re done copying and pasting 7 Repeat steps 5 and 6 until all instruments from the original score are copied over to the Master Template The EWQLSO Sibelius 7 Manual Sound Set Templates User s Manual Elliot Wright Chapter 2 Option 3 Complicated Not Recommended Build Your Own KSW Staves and System into the Existing Score This option will not be fleshed out here The concept is this if you can export the House Style file from the Master Template and load it into your existing score you might
36. ed one note in the score to activate the sound of say a run up of 5 or more notes but of course a musician who sees one held note in their part will play only that note The solution in theory is this and you as the composer will need to improvise somewhat to accommodate your own specific needs 1 Notate an exact replica in your score of the concrete effect you wish to use 2 Select all notes in the affected passage open the Inspector and check the box labeled Live Duration 3 Check the default Live Duration for each note in the passage Add the values up For example if you are imitating a 5 note run up and each note has a duration value of 10 the total duration value is 50 4 Select the first note in the passage and set its duration to a value long enough to cover the entire length of the passage a good guess would be to start with the sum you just got in step 4 5 Select all the other notes in the passage and set their duration to O 6 Input the key switching note as needed to activate the desired articulation The key switching note should activate the desired concrete effect and the first note in the passage will activate it It will be held for a value approximately as long as the full passage allowing the sample to playback smoothly across the whole passage The other notes have been given a duration of 0 and will not be played so they will not interrupt the playing of the sample R
37. emember that this is a rare technique and some experimentation may be needed to get it right 17 Chapter 5 Notes and Quirks It is of course practically impossible for both EWQLSO and Sibelius to line up perfectly on every level even if the two pieces of software do happen to work and fit together nicely in general The sounds you can use for any given instrument are limited to the articulations and key switches already included in the library Some minor quirks and tips have been added here for your reference based on my experience and the experience of other users Avoiding Crashes and Corruptions Avoid or Turn Off Sleep Mode In my own experience Sibelius PLAY have been more likely to crash if patches are loaded and the computer is allowed to go into Sleep mode or other standby modes especially if the computer is set to turn off or spin down the hard drive strongly encourage users to turn off any settings which allow their system to go to sleep while working with Sibelius PLAY Use the Same Playback Configuration in All Simultaneously Open Scores Another issue which can often cause crashes and in my experience corrupt files is switching back and forth between scores using different playback configurations especially if one or more of those configurations use heavy sampler patches like EWQLSO If you are copying an existing score over into the master template it is strongly recommended that you set both scores to
38. en working with an instrument using two separately panned staves like Horns Trumpets Trombones Solo Violin and Violin Ensemble an oddity in the way Sibelius handles SoundIDs makes switching between default and effects patches impossible with only one KSW staff Two KSW staves have been provided for these instruments The top one selects the active key switch for the default patch and the lower one selects which key switch will be active in the staccato effects patch Always bear in mind that the KSW staves operate separately from the Sounding Staff and that triggering a keyswitch in for example the Staccato Effects staff will only cause that articulation to sound when a note from the Sounding Staff is sent through the Staccato Effects staff via a staccato marking or the text eff for effects Crescendo Dimimuendo Playback When using hairpins to indicate crescendos and diminuendos over the course of several notes Sibelius will strike each note with more or less Velocity as needed making each successive note a little louder or softer than the note before it In many cases no additional work is required as the effect is that of increasing loudness or softness over the course of the passage For Pitched Instruments the challenge lies in creating crescendos and diminuendos which create an audible change in dynamic over the course of a single note or over the course of multiple longer notes For example a timpani
39. ents panning and volume adjustments of their peers in the Master Template Multis and can be used to construct a custom playback configuration using the Master Template or can be loaded one at a time into a less powerful system so as not to exceed the RAM capabilities of your computer The EWQLSO Sibelius 7 Manual Sound Set Templates User s Manual Elliot Wright Chapter 2 Installation The installation process is a short series of copy and paste actions It helps to keep the original package and its contents in its own folder on your computer or better yet backed up on another disk or drive for archive purposes and so you can re install later if needed Step 0 Ensure that the most recent version of the PLAY 64 bit Plug in is installed and detectable in Sibelius In Sibelius under the list of Available Devices in the Playback Configurations dialogue should be at least one instance of the PLAY VST If this is not the case you need to let Sibelius know where to find the PLAY plug in 1 In Sibelius in the Playback Configurations dialogue click Audio Engine Options and then Folders 2 Click Add and direct Sibelius to scan for VSTs in the folder containing play_VST_x64 dll you may need to do a quick search in Windows Explorer or the Finder on Mac to locate this 3 Click Ok and then Rescan before closing the dialogue Close Sibelius wait a few moments and restart it
40. ertain key switch notes In all KSW Staff Models like sounds for example the various Expressive or Marcato articulations found in most Master KSW Patches are grouped together and numbered Expressive 1 Expressive 2 etc starting from the articulation with the shortest apparent attack to the longest apparent attack The articulations with the shortest attack are closer to the bottom of the KSW Staff Model longer attacks are closer to the top Some articulations require you to add a sharp to the key switching note Because of the inconvenience of doing this reasonable effort has been made to only put the most rarely used articulations in these positions They are available though in case you should ever need them If you wish to use a specific articulation instead Annex B contains a complete list of which pitch needs to be placed on the KSW staff of any given instrument in order to activate the key switch you re looking for Nearly all key switches available in the Master KSW patch of each instrument are available in this system Bear in mind that the octave numbering in Sibelius and EWQLSO differ by one octave The pitch given in the annex is the Sibelius numbering When the E Wright EWQLSO Master Playback Configuration is Loaded Placing a note on these spots on the KSW staff will activate the following types of Articulations for the Applicable Sounding Staff Effect 3 1 Effect 4 aaa Major Trill
41. esult any notes on these instruments with a staccato marking or X shaped note head will not sound Tenor Drum has no roll articulation in the EWQLSO library Roll markings on the Tenor Drum will not sound Flutter tongue is only available for Flutes This is because Solo flute is the only patch included in the template with this articulation Placing a KSW note on the Tremolo Flutter line on the KSW staff will have no playback effect on other brass and woodwind instruments in the template Blank Key Switches Every instrument s key switches have been organized in the same way so that a passage and its key switches can be copied from one instrument to another with relative ease However not every instrument has the same articulations available to it this sometimes leads to an instrument not sounding when a key switching note is placed on the KSW staff simply because there is no articulation available for that instrument in that position Double check Annex B from time to time to make sure you re getting the most out of your patches 18 The EWQLSO Sibelius 7 Manual Sound Set Templates User s Manual Elliot Wright Chapter 5 Writing Considerations When Writing for an Instrument With Two Instances of Itself a Sound ID change on the Second instrument will be sent to the matching Sound ID slot for the First instrument unless the first instrument is already making use of that Sound ID slot Here s what mean When
42. f the user Option 1 Easiest Load the Playback Configuration Directly into Your Existing Score Pro Very easy Just plug and play You keep your existing score and parts as is and get basic playback of articulations designated as Semi Automatic Sound ID Changes in the next Chapter Con Limitation of available articulations This method does not add in key switching functionality so the playback is limited to the default patches Still a simple way to get basic EWQLSO playback 1 Open your score in Sibelius In the Play tab on the far left select the configuration called E Wright EWQLSO Lite 3 When the patches have all loaded continue to use Sibelius as normal N Option 2 Recommended Copy the Existing Score into the Master Template Pro Full functionality By copying the original score s contents into the Master Template the effect is the same as though you had written the whole score from within the template allowing you to access the master tempalte s key switching staves and the Final Score Technical Layout Study Score features of the template Con More work involved than option 1 and any special score part formatting may need to be re done if you wish to make the resulting file into the new for printing file 1 Start a new score using the EWQLSO Master Template In the Play tab set the Playback Configuration to the EWAQLSO configuration of your choice 2 Openthe existing scor
43. geable You can do this by selecting Panorama from within the View tab or clicking the panorama icon on the bottom 3 Hold down Ctrl on Windows or Cmd on Mac while carefully selecting only the Sounding Staves you want to be shown in your score This can be tricky especially around percussion staves with only one line and a small margin for selection 4 When all the desired Sounding Staves have been selected go to the Layout Tab and select Focus on Staves 5 De select Panorama mode to return to your regular page layout You can now tweak the staff size spacing page size and other features of your score as you would normally 6 Addendum Preparing a Study Score Follow steps 1 through 5 as desired You may further wish to complete your study score by Hiding Empty Staves more info in Sibelius Reference 13 Chapter 4 Key Switching Techniques Tremolo Trills and Fluttertongue Activating Tremolo amp Fluttertongue All Ensemble string instruments have access to a Tremolo key switch which is activated by placing a key switching note on the top line of the instrument s default KSW staff Doing this for the Flute will activate Fluttertongue In keeping with proper notational practices it is best to also mark the affected notes with the appropriate tremolo markings The scoring template should not perform a tremolo a repetitive striking of the note over and over but will hold the no
44. have an available Trill key switch in the EWQLSO Library Double Bass Ensemble Solo Cello Solo Double Bass Alto Flute Bass Clarinet Contrabassoon Horn Trumpet Trombone and Tuba 14 The EWQLSO Sibelius 7 Manual Sound Set Templates User s Manual Elliot Wright Chapter 4 Accessing Additional Staccato amp Effects Options For most instruments except Oboe English Horn and Piccolo Trumpet a second Master KSW patch occupies the MIDI channel labeled with the applicable instrument s staccato Sound ID and is loaded with all available short articulations and special effects articulations for that instrument How to access the stacc effects staff To send the notes on the Sounding Staff to the Effects patch simply place a piece of technique text eff at the start of the affected passage and norm at the end of the passage or mark all affected notes with a Staccato marking there is a plug in available to hide staccato markings which you do not wish to see in the actual score but book ending the phrase with eff and norm will not require you to use staccato markings and may be easier Meanwhile on the KSW Staff place any note with a staccato marking onto the KSW staff where needed to activate the desired key switch a table of all key switches is available in Annex B and an illustration of the key switching staff s functions can be found in Annex C 2x Instrument Addendum Wh
45. he Individual Instrument Multis included in the original folder but this will not be discussed here 5 The EWQLSO Sibelius 7 Manual Sound Set Templates User s Manual Elliot Wright Chapter 2 Converting Existing Scores Similarly to how this system s process for setting up a score is different from the norm so too is its method for converting existing scores Since the Playback Configuration and the Score are so closely woven together simply loading the Playback Configuration with another score will not suffice The existing score s bars key signatures time signatures tempo markings and rit accel lines must be duplicated in a new score and the individual parts copied and pasted in It should be noted that depending on your system switching back and forth between two files with different Playback Configurations can cause stability problems especially of one or more of those configurations uses several heavy patches like EWQLSO It is preferable to make sure that all files being worked on simultaneously are opened with the same playback configuration and to take measures as a best practice to back up your files in case of a crash or a file corruption There are two routine options for converting existing scores They are presented here from easiest to hardest Option 2 is the most highly recommended as it does not require very complex work to set up and opens up the largest number of options for the least work on the part o
46. ilver EWQLSO users make sure E Wright EWQLSO Silent is selected and you can build your manual sound set up from the Individual Instruments multis included in the package or from your own EWQLSO patches Trimming Your Orchestra Starting a new score with these templates is a subtractive process the score starts with all instruments represented and you can simply delete any instruments you do not need Bear in mind that because each instrument in the template is carefully paired with the appropriate patch and key switching staff it can be difficult to get an instrument back and playing properly again once it has been deleted Step 1 Remove Unwanted Staves 1 Gotothe Home tab and click the Add or Remove Instruments button 2 Select an instrument you wish to remove by clicking its name in the list on the right 3 Click Delete from Score to delete the instrument You will notice that most pitched instruments also have a staff below their name labeled for example S VIn KSW or Tuba KSW Once you have deleted the instrument itself make sure you also delete its respective KSW staff 4 Click OK at the bottom right of the dialogue box Step 2 Create a New Playback Configuration for Your Score 1 Openthe Playback Configurations Dialogue by going to the Play tab and clicking on the little arrow button in the bottom right of the Setup block 2 Create a new configuration based on the c
47. inary Sibelius score interprets your notes and markings in a familiar pre programmed manner and which can be given additional instructions through hidden text mark ups to enhance realism and access specific articulations as desired Automatic Sound Sets are available for sale online and may be the solution for you depending on your personal style workflow and specific needs The downside is that authoring or modifying a Sound Set File for one s own needs can be very difficult to the uninitiated whereas the creation of a manual alternative for playback is within any user s immediate grasp and depending on whom you ask the pre programmed nature of the interpretation can sometimes feel just as computerized as the sounds you paid good money to replace Elliot Wright s EWQLSO Sibelius 7 Manual Sound Set Templates as the name suggests operate on a Manual Sound Set system The template is meant to behave similarly to a sequencer program the visible notation for each instrument is written into its staff referred to in this manual as a Sounding Staff Sibelius Playback Dictionary and Sound ID systems help to automate some sound changes while small hidden staff beneath the Sounding Staff silently plays the key switches needed for other The actual writing and key switching information is done in Sibelius Panorama mode when it comes time to print or publish the full score the Focus on Staves function is used to ensure that only the S
48. ing myself with a score which played back my writing with the appropriate balance could expect from a real orchestra allowing me to learn from mistakes and adjust my style in the safe confines of my own private workspace To this day the scoring templates l ve produced use almost entirely Solo instrument patches on the presumption that technically all instruments in the orchestra except massed strings are technically single instruments Ensemble brass and woodwind patches might make an appearance in future templates but this may be a task better left up to power users who specifically desire that kind of sound in their scores It is important to bear in mind especially if you are a young composer that not everything which sounds good in live performance can be made to sound right with a sampler and not everything which sounds great with a sampler will sound right in live performance The use of samplers as convincing as they can often be tends to lend itself more to certain writing styles in particular epic brass and strings sound of cinematic cues or fascinating if often impractically orchestrated soundscape sequencer compositions Composer and general orchestration guru Thomas Goss addresses the phenomenon of how samplers often handle different textures and types of orchestration during his 7 part review of the Sibelius 7 Sounds library The most basic principle to be aware of here is that samplers may eliminate mos
49. ing sent by default through the Violins patch being the first available patch to match the required Sound ID This can be avoided if Violins are already playing a pizz passage in which case Sibelius will send the Second Violins pizz notes to the next available slot in this case the appropriately panned Violins II patch This could be circumvented by simply deleting the redundant patches and having all multi instance instruments use the same set of patches Alternately one could simply avoid writing in a manner which requires the second instrument to use special techniques while the first instrument plays normally When writing for two instances of the same instrument there are two sets of patches loaded These have been panned and volume shifted so the second instrument of the same type is panned slightly to the side and is slightly quieter During a Multi Movement Work it is a good idea to reset all KSW staves to their default position a note on the bottom space of the staff and copy the MIDI data text from the staff at the beginning of the work the default starting volume before the start of the next movement 19 Chapter 6 Postlude A Word on Composing With Samplers When I started developing this system the original intent was to create a scoring template which would reflect as accurately as possible a real orchestra The hope was to improve my orchestration technique by provid
50. irst time Alternatively you can always duplicate the original score from the package rename it and open it in Sibelius to start work that way but using the score as a manuscript template simplifies this process significantly 3 Once the score is open go to the Play tab and on the far right use the Playback Configurations drop down menu to select E Wright EWQLSO Master or Lite or Silent depending on your needs If using the Lite or Master versions wait for the samples to load The EWQLSO Sibelius 7 Manual Sound Set Templates User s Manual Elliot Wright Chapter 2 What to Expect on Your First Time Loading THE FIRST TIME LOADING ANY OF THE EWQLSO MASTER TEMPLATE MULTIS YOU MAY RECEIVE A MESSAGE LIKE THIS The sample file X Symphonic Orchestra Filename Filename Etc Etc could not be loaded On the first occasion that you load up any multi or any playback configuration that uses multis PLAY will look for the required samples in the directory it used when the multi was originally created on the designer s computer which may be a different directory than what you are using You will need to help PLAY find some of the samples it is looking for This will only happen on the first loading of that particular Playback Configuration or multi so long as the Configuration or Multi is SAVED once it has finally loaded WHEN THE ABOVE ERROR MESSAGE APPEARS IT WILL DO THIS SEVERAL TIMES 1 Click Fin
51. making it easy to write your score s most important elements first without having to worry about key switches until it is time to spruce up the audio mix down Working With Instruments The Basics of Key Switching Lesson 1 Just like a MIDI sequencer Key Switching notes must be pressed and released before the start of the note to which you would like the change to affect In other words the main rule of working with pitched instruments is to place short notes on the KSW staff before the note they are to affect f a Sounding Note and a KSW note occur at the same time the Sounding Staff will change sounds on the next note to be played If you re having trouble try this simple experiment to get yourself familiar with the process 1 Open up a new score as outlined in Chapter 2 2 Navigate to the Technical Layout view by selecting it from the list of dynamic parts available by clicking the button in the upper right of the screen 3 Enter a few notes into the staff labeled say Piccolo The result should look like this Piccolo e Picc KSW 4 da 4 Try putting in an eighth note on the Picc KSW staff on the second line from the bottom under any note 5 Press the Spacebar to play from the beginning of the score to hear the effect Look at where the KSW note was placed and when the change in sound took place Play around with this simple phrase and switch setup to hear the v
52. o hear the approximate difference between the various approaches available to me still desire the ability to turn out a nearly realistic audio mix down of my scores as a young composer myself am still very much still a developing student of composition and orchestration but would urge my fellow young composers whether working in a sequencer or with Sibelius or especially with these templates that if your goal is actual orchestration to always remember the major differences between a digital sampler and the real thing avoid through awareness the fatal trap of writing for the sampler be a constant student of your craft and never lose touch with the real world principles and techniques of this fascinating and rewarding practice of instrumental orchestration 20 The EWQLSO Sibelius 7 Manual Sound Set Templates User s Manual Elliot Wright Chapter 6 Conclusion A Personal Letter to You the User Before go would like to take a moment and personally thank you again for your investment of time energy and interest in this fascinating project hope that as you gain familiarity with the principles of using Manual Sound Sets in particular this one that you too will take advantage of the tools at your disposal right there in Sibelius to exercise greater control over your samples generating more realistic playback and mock ups of your scores and transcriptions Over the course of this 4 year solo project know that l v
53. ons Sibelius 5 and 6 as secondary options For best results make sure you are running in a 64 bit Operating System preferably running Sibelius 7 64 bit and using the 64 bit PLAY plug in Chapter 2 Getting Started What s Inside Contained in the package titled E Wright EWQLSO Master Templates zip are several files which facilitate the installation and full use of the Master Template If the package came as a zip file expand the zip file to access them Folder E Wright EWQLSO Master Templates Contains Score E Wright EWQLSO Master Template sib lt This is the main template for use with Sibelius 7 Score E Wright EWQLSO Master SIBELIUS 6 sib lt This is a version of the template saved in Sibelius 6 format Score E Wright EWQLSO Master SIBELIUS 5 sib lt This is a version of the template saved in Sibelius 5 format Folder Playback Configuration Files You ll copy the contents of this to your computer during installation Folder Master Template Multis Contains Multi Ext Orch PLAY 1 UpperStgs amp LowBrs ewi lt Specialized multis to be loaded into PLAY if needed Multi Ext Orch PLAY 2 LowStgs ewi Multi Ext Orch PLAY 3 WWs amp UpperBrs ewi Multi Ext Orch PLAY 4 Percussion ewi Multi Ext Orch PLAY 5 Rares amp KeybrdPerc ewi Multi Ext Orch PLAY 6 SoloStgs amp Harpsichord ewi Folder Lite Template Multis Multis
54. or listings Marcato 2 Marcato 3 Up Down 2 or Marcato 1 short attack Up Down 1 Default Stacato Secondary Staccato 33
55. ounding Staves are shown in the score The resulting system may initially appear less intuitive to use than its automated alternative however the learning curve has been made as gentle as possible through the use of this manual and online video walkthroughs More information on the unique approach taken by this system to tackling the challenge of improving playback can be found in Chapter 3 It is important to note that regardless of which method you prefer to use the goal remains essentially the same the ability to hear a better realization of your work as you write it and to produce a score and high quality audio mock up together in the same workflow within Sibelius Things to Know Before You Begin This manual presumes that you the User are familiar and competent with your computer system Sibelius notation software and the sample libraries described here You should be familiar with the basics of how to use a Manual Sound Set or a custom Playback Configuration however sufficient instruction is given here to guide a less experienced user through the aspects of installing and using these templates have tried to avoid duplicating instructions which can be easily found in the Sibelius Reference document which comes with Sibelius software and the documentation provided with EWOQLSO if at any point something seems unclear or unfamiliar please check these references first to see if they can solve your problem This should be self evident
56. phone pitched percussion metal vibraphone pitched percussion wood xylophone Tubular Bells pitched percussion metal tubular bells keyboard piano Channel 153 MB RAM Instrument Solo Violin 1 Solo Violin 2 pitched percussion stringed harp Sound ID Assigned strings violin normal strings violin staccato strings violin pizzicato strings violin normal strings violin staccato strings violin pizzicato O 00 NID U AJU N e Solo Viola strings viola normal strings viola staccato strings viola pizzicato e Pb N e O Solo Cello strings violoncello normal strings violoncello staccato strings violoncello pizzicato PPR U BU Solo Contrabass strings contrabass normal strings contrabass staccato strings contrabass pizzicato P o Harpsichord keyboard harpsichord 25 The EWQLSO Sibelius 7 Manual Sound Set Templates User s Manual Elliot Wright Annexes Annex B List of All Key Switches By Section It may occur at times that you want to access a specific key switch to serve a particular purpose this happens more often when dealing with key switches which fall under the Staccato amp Effects category The tables provided in this Annex indicate which pitch needs to be entered on the key switching staff in order to activate each articulation They have been separated by orchestral section for ease of organization The tables below outline each instrument or section
57. rehensive EWQLSO Manual Sound Set was becoming much more realistic In early 2011 decided to invest in a more powerful computer which could handle all the Master KSW Patches being played simultaneously Once the computer had been assembled a few weeks work produced my first draft of the full system The release of Sibelius 7 in August of that year with its 64 bit processing enabled me to finally load all the patches needed without concern for RAM limitations The result was the October 25 release of the system s first complete realization of an existing score an abridged version of Tchaikovsky s Scene from the Swan Lake Suite The sound set would not be finished though until could accommodate every key switch on every pitched instrument and combine this with percussion instruments in a single Master template The task took until January 2012 to plan and implement and required a challenging re think of the Key Switching Staff model to include all available key switches Several months later as continued to receive positive feedback from viewers of the Swan Lake mock up started to consider the possibility of making the whole system available to other users The ensuing effort took months of brainstorming and experimentation to bring to market a template which is as user friendly as possible while addressing both the needs of sound quality and the creation of beautiful looking orchestral scores The EWQLSO Sibelius 7 Manual Sound
58. s and Other Concrete Effects Notes and Quirks Avoiding Crashes and Corruptions Articulation Limitations Writing Considerations When Writing for an Instrument With Two Instances of Itself During a Multi Movement Work Postlude A Word on Composing With Samplers Conclusion A Personal Letter to You the User Annexes Introduction to the Annexes Annex A List of All Patches Sound IDs and RAM Consumption Annex B List of All Key Switches By Section Annex C Diagram The Extended KSW Model for Bass and Treble Clef Lite Key Switching Staff Model Master Key Switching Staff Model Default KSW Staff Model Master Key Switching Model Staccato amp Effects KSW Staff Model 15 15 16 17 18 18 18 19 19 19 20 20 21 22 22 23 26 31 31 32 33 User s Manual The EWQLSO Sibelius 7 Manual Sound Set Templates User s Manual Elliot Wright Legal Preface Preface This document is subject to change without notice and does not represent a commitment on the part of the author This document is subject to copyright and may not be used reproduced copied or otherwise distributed for any purpose without written consent from the author The software described by this document is subject to a License Agreement This document and the accompanying digital goods were prepared privately by the Author not by Avid EastWest or any other company or individual views and opinions expressed herein ar
59. se amp Allowable Use 10 11 12 13 The Author grants you a personal non transferable and non exclusive right to use the Software provided with this License Agreement when rightfully obtained and subject to the terms of this License Agreement All rights title and interest in and to the Software are owned by the Author or by the appropriate party and are not transferred to the User through the purchase or possession of the Software You may create one 1 backup copy of the Software to be used by you only in the event that the original copy is destroyed lost or becomes defective or otherwise inoperable You may modify the Software for your own personal use These modifications are subject to this License Agreement You acknowledge that any modification may render null and void any obligation of the Author to you regarding the Software The Author will retain all rights to any modified version of the Software and you will not distribute or otherwise make available any modified version of the Software If you upgrade the Software or purchase supplementary software made by the Author the upgraded or additional Software may only be used in accordance with its License Agreement If no such agreement accompanies the Software this License Agreement will apply To use Software identified as an upgrade you must first be licensed to use the Software identified as being eligible for upgrade You will not in any way distribute or make availa
60. stem has helped create If you have any questions concerns compliments or ideas you would like to share with me please feel free to e mail me at the address below and will try my best to answer you in a timely manner Thank you again and remember to keep making music any way you can Sincerely Elliot Wright info elliotwrightmusic com www ElliotWrightMusic com 21 Chapter 7 Annexes Introduction to the Annexes These Annexes contain tables and diagrams which will aid you to understand the inner workings of the scoring template and its Playback Configurations They are also intended to help advanced users to be able to modify the configuration to suit their specific needs in particular Annex A which outlines the basic structure of the Playback Configuration itself The most important Annex is Annex C where a diagram of the KSW Staff Model is drawn out to help out new users It may help to print this and other annexes to keep alongside you while you write for easy reference Bear in mind that although every instrument has been treated the same way not every instrument has the same articulations this sometimes leads to an instrument not sounding when a key switching note is placed on the KSW staff simply because there is no articulation loaded for that instrument in that position Double check Annex B from time to time to make sure you re getting the most out of your patches 22 The EWQLSO Sibelius 7 Man
61. t of the need for live musicians which can be very helpful for young inexperienced composers and orchestrators who otherwise would have no way of getting their orchestral works performed however they are not the same as human performers due to their lack of breathing requirements and immunity to technically difficult notation and physical fatigue The freedom they provide the young composer can often be deceptive and lead to unrealistic part writing and the professional quality sounds and articulations which play back with consistent ease in a sampler may not perform so consistently well in a live one take only performance Further the ability to adjust volumes and panning may serve the media composer greatly in their sequencer based work but may develop in the young composer s inner ear an inaccurate impression of the type of balance to expect from a live orchestra Of course in that sense studio recordings of orchestras can also achieve this effect just as well so it may be a good idea for the young composer to expose themselves to live un enhanced orchestral performances as much as possible to internalize an accurate imprint of typical orchestral balance I have found that learn the most about orchestration from attending live performances reading the right books and comparing their advice to what find in favourite scores and then experimenting with the techniques and theories l ve picked up using my sampler based templates t
62. t your own risk and that you are solely responsible for any damage to your computer system or other device or data loss that results from the use of the Software in any way The Author expressly disclaims all warranties and representations whether express or implied including but not limited to fitness for any particular purpose You agree that the Author will not be liable for any damages for any reason and under any circumstances of any kind In jurisdictions where such limitations are not permitted by laws which apply to you the Author s liability will not exceed the actual amount paid by you to the Author for the Software You agree to indemnify and hold harmless the Author from and against any loss or threatened loss damage and all claims and expenses including attorney s fees arising out of your use of the Software including but not limited to your violation of the License Agreement You agree that any failure on the part of the Author to enforce this License Agreement does not represent a formal waiver of the Author s right to legal remedies for any violation of this License Agreement The Software this License Agreement and any access to the Software fall under the jurisdiction of any applicable international laws as well as any applicable laws in Canada and the Province of Ontario Chapter 1 Prelude Thank you for purchasing the EWQLSO Sibelius 7 Manual Sound Set Project Master Template Set It has been a labour of love to produc
63. te steadily allowing the tremolo sample to play solidly If Sibelius appears to be performing a tremolo on its own for some reason select the note in question open the Inspector and un check the Tremolo Play box As a side note have found that in some faster Up Down passages it can be beneficial to activate the Tremolo key switch to simulate the slight muddling which sometimes occurs in live performance used this technique to good effect during the climactic portion of my Swan Lake demo video Smoother Tremolo Transitions Key switch vs Text Activated When working with tremolo passages of several notes you can smooth over the transitions between notes by creating a slur over all affected notes Sibelius will hold all notes under a slur for 10096 of their marked duration assisting with a legato feel You can always Hide the slur by selecting it and hitting Ctrl Shift H or Cmd Shift H on Mac To further assist with smoothing or hardening your tremolo passages you have the option of using the Key Switch tremolo activated by a KSW note as described above or the Text Activated tremolo The Key switch tremolo will always have a harder attack giving each note a little more bite whereas the Text Activated tremolo is much smoother sounding To use the smoother sounding Text Activated tremolo simply put the text Tremolo at the start of the affected phrase followe
64. the KSW staff before or at the start of each new phrase to activate the desired starting key switch this way when playing back isolated passages multiple times there will always be a KSW note at the beginning of the phrase to select the starting articulation A useful side effect of this principal is this you can test out how a phrase will sound with any available key switch for that instrument by just moving the KSW note up or down to the desired position which will activate that position s assigned articulation and then selecting just the Sounding Staff and hitting P Since the KSW staff is not selected the passage will 12 The EWQLSO Sibelius 7 Manual Sound Set Templates User s Manual Elliot Wright Chapter 3 play back without interference from the KSW staff using the most recently pushed key switch It s a quick and easy way to preview a variety of articulations on an individual instrument Working With Percussion A set of simple drums keyboard style percussion and Timpani have been included in the Master Template Keyboard Style percussion includes instruments like the Harp Xylophone Piano Orchestral Bells etc whose patches require no special key switches to be loaded These instruments are each one patch only and can be loaded and played easily All keyboard style percussion patches in EWQLSO have been loaded into the Playback Configuration but have all their mic positions turned off to save on RAM
65. the score shows two instances of the same instrument 1 and 2 Violins Trumpets Horns Trombones etc there are two sets of patches loaded one set for instrument 1 and another for Instrument 2 which have been panned and volume shifted slightly down Each of these sets of patches are labeled the same way in the Playback Configuration for example you will notice that Play Instance 1 in the Master Template contains 5 slots of Violin Ensemble Sound IDs to accommodate the First Violins followed by another 5 slots of the same Sound IDs to accommodate the Second Violins note that PLAY s memory management allows it to recycle samples that have already been loaded so this does not use up extra RAM fortunately The First Violins for this example are routed through the mixer to send its notes to the normal Sound ID slot in the Playback Configuration for the first set of patches Channel 1 and the second instrument is routed to the normal Sound ID slot for the second set of patches Channel 6 The idea is that each instrument has a full set of articulations panned and volume adjusted for its use When Sibelius comes across an automatic Sound ID change like pizz it sends it to the first slot with that label that it can find in this case the pizz channel for Violins l The problem is if your pizzicato line is being played by Violins II it comes out with the panning and volume of Violins I because it is be
66. to most users but a Sound Set is not a sample library It is only a set of files which give Sibelius instructions on how to handle the sample libraries installed and rightfully installed and licensed on your computer These templates will not give you the ability to play the EWQLSO sounds if you have not already licensed and installed EWAQLSO on your computer For newer users it may be advantageous to experiment first with the PLAY engine as a standalone outside of Sibelius to become familiar with loading patches assigning MIDI channels to patches and changing around key switches in the various Master KSW patches In Sibelius it will be very helpful to read up on Manual Sound Sets and Working with VSTs in The EWQLSO Sibelius 7 Manual Sound Set Templates User s Manual Elliot Wright Chapter 1 Sibelius Reference At the very least new users are encouraged to learn how to set up a simple manual sound set consisting of one or two patches Running a large number of high quality sample patches can be CPU intensive This template was designed and built on a high functioning computer running Sibelius 7 to take advantage of the additional RAM which that version can access as a 64 bit program Earlier versions of Sibelius are not 64 bit meaning that they may not be able to handle a large number of patches without becoming unstable To that end this manual has been written primarily with Sibelius 7 in mind as the host program with earlier versi
67. tubas tuba staccato 183 MB RAM Channel Instrument Sound ID Assigned 1 Violas strings viola ensemble normal 2 strings viola ensemble staccato 3 strings viola ensemble mute 4 strings viola pizzicato ensemble 5 strings viola ensemble tremolo 6 Cellos strings violoncello ensemble normal 7 strings violoncello ensemble staccato 8 strings violoncello ensemble tremolo 9 strings violoncello pizzicato ensemble 10 Contrabasses strings contrabass ensemble 11 strings contrabass ensemble staccato 12 strings contrabass ensemble tremolo 13 strings contrabass pizzicato ensemble 14 16 Blank blank 23 The EWQLSO Sibelius 7 Manual Sound Set Templates Elliot Wright Channel 261 MB RAM Instrument Clarinet User s Manual Annexes Sound ID Assigned wind clarinets clarinet normal wind clarinets clarinet staccato Bassoon wind bassoons bassoon normal wind bassoons bassoon staccato Trumpet 1 brass trumpets trumpet normal brass trumpets trumpet staccato Trumpets 2 3 brass trumpets trumpet normal brass trumpets trumpet staccato WO Jo NID JA WIN e HorninF 1 Horn in F 2 3 Flute Oboe brass horns french horn normal brass horns french horn staccato brass horns french horn normal brass horns french horn staccato wind flutes flute normal wind flutes flute staccato wind oboes oboe normal Channel Hall Noise 23 MB RAM Instrument Snare Drums hit rim shot roll Tenor Drum
68. ual Sound Set Templates User s Manual Elliot Wright Annexes Annex A List of All Patches Sound IDs and RAM Consumption Page 1 of 3 This Annex holds a list of which Sound IDs are assigned to each channel in each instance of PLAY You can also see this in the Playback Configurations dialogue under the Manual Sound Sets tab when the configuration is loaded This table also indicates which multi from the Master Template Multis folder should be loaded into each instance of PLAY and how much RAM each multi requires to be loaded on its own with only the Stage Mics loaded The Master configuration takes about 1885 MB of RAM to load Stage Mics Only not counting the RAM required for the Operating System Sibelius the Plugin and any other programs you may have running The Lite version takes 735 MB 168 MB RAM Channel Instrument Sound ID Assigned 1 Violins strings violin ensemble normal 2 strings violin ensemble staccato 3 strings violin ensemble mute 4 strings violin pizzicato ensemble 5 strings violin ensemble tremolo 6 Violins II strings violin ensemble normal 7 strings violin ensemble staccato 8 strings violin ensemble mute 9 strings violin pizzicato ensemble 10 strings violin ensemble tremolo 11 Trombone 1 brass trombones tenor normal 12 brass trombones tenor staccato 13 Trombone 2 3 brass trombones tenor normal 14 brass trombones tenor staccato 15 Tuba brass tubas tuba normal 16 brass
69. uencer in operating your key switches combined with the amazing scoring capabilities of the Sibelius notation software you know and love without the need for external programs like a sequencer to produce your audio mix downs The central innovation in this system is in the way the KSW staff model has been built All the key switches of each instrument have been arranged in such a way that placing a note on the KSW staff of any instrument should activate a similar articulation across the board For starters placing a note on the bottom space of the KSW staff will activate that instrument s Default Sustain a generic held note useful for most applications no matter what instrument you are writing for A note on the top line of the staff will activate Tremolo or Fluttertongue articulations where available and so on This make copying the key switch information for a specific phrase from one instrument to another relatively easy An outline of the Key Switching Model for both Lite and Master versions both contained in this package is found in Annex C of this manual and a list of pitches to activate each articulation on each instrument can be found in Annex B The Template at a Glance Features and Abilities Final Score View Upon opening the Master Template you should be presented with the Final Score sheet as you would in any other Sibelius score But look closely this sheet is a facade of all the So
70. unding Staves only with all the key switching staves hidden Use this Final Score view to set up your final score We ll talk more about this view later in Preparing the Final Score Technical Layout View Click on the button in the upper right of the screen to open a list of the various Dynamic Parts you will find here the Technical Overview page a dynamic part laid out like a sequencer This view contains all the sounding staves for you to write in accompanied by their applicable KSW staves colour coded for good measure too Do the majority of your writing in this view and switch back to the Final Score view when you are ready to provide formatting for your final published score At the beginning of each Sounding Staff is a hidden piece of text containing a default MIDI volume setting you can tweak this as needed or even copy and paste it to specific passages to change the volume for that instrument if desired Study Score An additional goodie the study score view is similar to the Final Score view but has been formatted to a smaller book size 6x9 and formatted to resemble a study score containing all the main parts of the current score The part sits quietly in the background and updates itself automatically as you build your score You can tweak it later for publishing by following the guidelines later in this chapter under Preparing the Final Score Pre formatted P
71. urrent one by clicking New 3 Name the new configuration and click OK This is done so that any further modifications or deletions you make to the patches will not affect the original Playback Configuration keeping the original template and its sound set intact for future use Step3 Remove Unnecessary Patches This step is optional but will save on RAM and loading time in the future 1 Consult the Annexes at the back of this manual to help you determine which instance of PLAY the unwanted patches are located or simply search through them 2 Openthe Playback Configurations Dialogue by going to the Play tab and clicking on the little arrow button in the bottom right of the Setup block 3 Accessthe target instance of PLAY by selecting it from the Device drop down menu and clicking Show In the PLAY Plugin click Browser in the top right and locate the list of loaded patches on the left 5 Delete the unwanted patch by locating it in the list on the left clicking on it once and hitting the Delete button directly below the list This deletes the patches from your configuration which will also save on RAM Doing so for many instruments may leave several blank channels in the various instances of PLAY but this should not negatively impact performance Advanced users with a keen understanding of how Manual Sound Sets work may take this opportunity to re structure their PLAY instances from scratch using t
72. used for the Lite version of the configuration Folder SoundIDs Only lt Multis which do not use key switches but have fewer articulations Folder Individual Instruments lt Multis of single instruments with the same modifications and key switch settings as those in the master multis so you can customize your own template The Master Templates are Sibelius score files sib They have been set up to include all possible pitched instruments and several percussion instruments available in the EWQLSO Platinum library The Master Playback Configuration Files are data files which can be copied to a specific folder during the installation process From there they contain instructions for Sibelius as to which patches to load It contains two playback configurations a Full version which loads all patches and a Silent version without any patches loaded for slower computers and custom configurations The Master Template Multis are files which can be loaded into the corresponding PLAY instance in your Playback Configuration to restore that PLAY instance to its original intended state They can also be loaded into PLAY in the event that the playback configuration does not load the patches automatically The Individual Instruments Multis are multis which each contain the patches required to operate one instrument or section in the Master Template These multis come with all the necessary key switch assignm

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