The Trumpet 3 User Manual
Contents
1. 31 Vibrato like endings If you analyse a real trumpet phrase you will notice that some notes may have a brief tasteful kind of vibrato at the very end This vibrato is mostly just a single oscillation one period long and adds a very typical expression to the sound These articulations nearly impossible to perform by the interaction of the main controllers can be easily obtained by simply hitting a keyswitch F1 provides a most typical expressive end vibrato F 1 triggers a very expressive short end vibrato Both Key Switches are of the on the fly type which immediately affects the currently played note A1 provides an end vibrato upon the release of the note Since the intensity via KS velocity and duration are entirely under your control these keyswitches are one of the most important articulation tools allowing incredible realism to be easily achieved Trills shakes amp ornamentations Realistic trills ornamentations and shakes can be obtained by simply playing them on a keyboard However a very helpful retrigger feature greatly facilitates this task upon release of an overlapped note the previous note will be played again retriggered if the key is still held down So in order to play a trill keep the initial note pressed while pressing and releasing the other note Try different velocities which noticeably determine the character of the trill shake This technique works also in more complex ornamentations using2. Attack Modulation CCH Transition Flutter CCH Growl CCF Flutter Tongue CCH Mute CCH 100 CC remapping 2 Dynamics ta Pitch CCH Random Detune CCF Fitch Fluctuation CCH el to Dynamics CCH Fortamento Time CCH Harm Groupi Gain CCH Horm Groups Gain CCH Harm Groups Gain CO Harm Form Shift CC CC remapping 4 Early Reflections Predelay Pon Distance CC remapping Sr 20 Note Aftertouch can be remapped as CC129 and used to control other parameters v O Note Pitchbend cannot be remapped nor used to control other parameters Wind Controller Mode Main view Vel Mapping This option opens the WindController panel Expr Mapping Controllers 1 By clicking on Use Windcontroller button Controllers 2 Controllers 3 Controllers 4 Controllers 5 you will activate the universal Windcontroller mode Mutes Early Reflections CC remapping 1 The selected mode will appear on the main view GUI CC remapping 2 WC Made CC remapping 3 Moin view T CC remapping CC remapping 3 Breath Contraller WC mode automatically maps the Dynamics to CC2 and gives complete 100 control of Portamento Time see below to CC5 In Keyboard mode the duration of portamento is determined by the velocity of the overlapped note Since note on velocities output by Wind Controllers generally reflect the current CC2 value portamento time becomes a function of the current dynamics This
3. as shown below we need to check whether this adversely affect Stage positioning N 18 Instrument Options Instrument _ ey eee i MID Controller 64 Sustain Pedal acts as Voice Handling Accept all motes off all sounds off DFO Accept standard controllers for Volume and Pon Controller Midi Controller 7 CYolurme range Snapshots Infos The Mutes PEES Selected Mute The mutes are selected on the drop down menu Jal ilappina i You may choose among Straight Cup Bucket 66 Eeen k Harmon and Harmon Stem Controllers 1 i Straight PE or In addition to the conventional mutes you may also up n a ee ee os select for Unison ensemble This is a specially devised IR aimed at markedly reducing the phasing which may occur when several instruments are driven from the same MIDI track Contrallers 4 Harman Controllers 5 Harmon Stem For Unison Ens Early Reflections Please note that the actual activation of the mute will occur on the first detached note i e the note which is separated from the preceding one in order to preserve the continuity of a legato phrase To disable the mute and restore the normal sound please select None on the Mutes menu The unmuted sound will occur on the first detached note Loading of a mute can be also accomplished via MIDI using CC100 see Controllers and their function above
4. hr Tip Unlike the other mutes the Plunger does not appear in the GUI menu but is Ne activated by pressing the Key Switch A 1 In this mode CC11 controls directly the wah wah effect Both a momentary and a toggle mode are available The momentary mode is activated when the KS A 1 is hit at velocities below 64 In this case the wah wah effect will be active as long as the A 1 KS is kept pressed Velocities above 64 activate the toggle mode which maintains the wah wah until the A 1 KS is hit again For more details see Playing techniques below Please note that both activation and deactivation of the wah wah mode will only take place on the next detached note to maintain the homogeneity of a legato phrase _ Tip The wah wah effect can be applied even when other mutes are used This is easily accomplished by activating the selected mute and pressing A 1 19 Early Reflections Main view The Early Reflections menu will allow to select a vel Mapping AA A netr different IR named Instr 1 2 3 etc At present only a Expr Mapping Instr single IR Instr 1 can be selected r DAS Early Reflections This menu is therefore reserved for future use Controllers 2 Controllers 3 Controllers 4 Controllers 3 Mutes CC remapping 1 CC Remapping Five different CC remapping panels allow remapping of all controllers to any CC Vibrate Intensity CCH Dynamics CEH Vibrato Fate CCH Attack Time CCF Releqse Time CCH
5. different from 0 CC92 will control the group of harmonics centered around the harmonic no 4 5 and CC93 the group of harmonics centered around harmonic 8 3 4 3 6 7 3 5 0 Timbral Shaping Please note acting on the controllers CC91 93 will not displace the displayed bars in the Timbral Shaping menu Instead the controllers will introduce an additional gain which must be added or subtracted from the current bar setting s according to their current values following the rules below CC91 93 64 0 dB i e no changes the harmonics gain corresponds exactly to the bar settings CC91 93 between 64 and 127 adds up to 6 dB to the current bar setting s CC91 93 between 64 and 0 subtracts up to 6 dB from the current bar setting s Similarly no frequency shift is applied if CC90 64 default setting rising the value up to 127 will gradually shift the settings up to one octave higher decreasing the value down to O will shift the settings down to one octave lower k Tips If you intend to use the real time control by any of the controllers CC91 93 consider using very small shallow settings of the bars close to 0 as much as possible These settings will make the particular harmonic active i e fully responsive controllable by CC91 93 However their level will be fully under control of the CC91 93 knobs in both directions 6 dB with practically zero gain if the controllers are se
6. CC91 Third harmonic increased 4 dB and controlled by CC91 Sixth harmonic increased 2 dB and controlled by CC92 Setting the adjacent bar s to any value with reversed polarity with respect to the first active bar will enable individual control of the corresponding harmonics by CC92 and CC93 Second harmonic decreased 2 dB and controlled by CC91 Third harmonic increased 4 dB and controlled by CC92 Fourth harmonic decreased 1 dB and controlled by CC93 Setting adjacent bars to the same polarity will create a group of harmonics Single harmonic group first second and third harmonic increased 2 4 and 1 dB respectively and controlled by CC91 Three groups of harmonics with different polarities including harm 1 2 3 4 5 6 8 9 10 The three groups are individually controlled by CC91 92 93 i ae 2 t UjpjijiHRMERLEE respectively Preset 1 Timbral Shaping 2l Saving and restoring Timbral Shaping settings Once youre done with your Timbral Shaping settings within a certain preset you can store it using the save as preset function before selecting another preset otherwise these settings get lost Ten presets are available numbered from 1 to 10 They will be permanently stored only when saving the instrument and will be immediately available upon reloading Preset 1 Preset 2 Preset 3 Preset 4 Preset 5 This example shows grouping of the first three harmonic gains stored
7. Compatibility with OS and Hosts is only dependent on the Kontakt version in use This means that if a future version of Kontakt works properly on your system and Native Instruments confirms its backward compatibility our instruments will work as well All the above OS are fully compatible with the Kontakt 5 Player supplied with The Trumpet v 3 0 Please note however that the Trumpet 3 has been developed on Kontakt 5 4 and will not work with previous versions of Kontakt Computer The Trumpet 3 like all Samplemodeling instruments provides unprecedented realism and expressiveness However it s a demanding software in terms of CPU load A modern PC or Mac with at least 1 6 GHz Core2Duo CPU is required Less powerful systems may also prove satisfactory but may require larger buffer sizes involving higher latencies and may even reduce the amount of simultaneously playable instruments down to 1 Note This may not present a real problem though Using the freeze feature or bouncing the single MIDI tracks to audio is a useful remedy Important note on CPU load Loading multiple instruments on a single instance of Kontakt leads to a less efficient use of the multiple cores and to an increased CPU load In case you are experiencing excessive CPU load and or dropouts we strongly recommend using a separate instance of Kontakt for each instrument v Audio Interface sound card A good quality audio hardware with suitable low latency
8. Controllers 4 you will activate the Breathcontroller mode Controllers 3 Mutes Early Reflections CC remapping 1 The selected mode will appear on the main view GUI CC remapping 2 BC Mode CC remapping 3 Moinuiew CC remapping 4 CC remapping 3 Wind Controller Portamento Time BC mode automatically maps the Dynamics to CC2 In addition it s now the BC which triggers note on amp off when exceeding or falling below a certain threshold As in the real instrument the pressed key only determines the note which will be played The note on velocity is related to the steepness of the initial CC2 curve so that a quickly rising CC2 will trigger a stronger attack This does not apply to legato notes where legato portamento duration is determined as usual by the velocity of the overlapped notes BC mode is deactivated by clicking again on the Use Breathcontroller yellow button Dynamics control will be automatically remapped to CC11 22 Portamento Time Main uien Yel Mapping This option opens the Portamento Time Expr Mapping panel Controllers 1 Controllers z Portamento Time controlled by Controllers 3 Controllers 4 peccon Controllers 5 100 Ta Mutes Early Reflections CC remapping 1 In Keyboard default mode the duration of portamento is CC remapping 2 determined by the velocity of the overlapped note While CC remapping 3 this represents a very convenient approach to portamento CC
9. Group2 Gain Harm Groups Gain 2 cCcal CoS ccs3 e 64 Be e 64 Harm Form Shift Please note that for realistic ccso and expressive playing the J r z controller knobs cannot 6 ontrollers4 i substitute the essential controllers such as CC11 Early Reflections Predelay modwheel C1 and pitchbend aN foe ie which must be provided by your keyboard or sequencer Pan Distance CCi4 e CC10 E4 a g Controllers 5 v The Controllers and their function PB pitchbend not shown in the GUI mapped to three semitones CC11 expression Controls continuous transition across the dynamics from pp to ff free from phasing artifacts due to our proprietary Harmonic Alignment Technology An expression pedal or a breath controller routed to C11 are highly recommended for the most realistic realtime playing Please note a medium comfortable trumpet dynamics corresponds to CC11 around 60 70 Strong fortissimo is achieved already at about 90 95 Highest CC11 values create an exceptionally bright extreme ff sound which should be used only for short special effects accents etc CC1 modwheel vibrato shake intensity Vibrato intensity increases linearly for CC1 values between 0 and 96 Above 96 vibrato converts into a three semitones shake The shake intensity linearly increases with CC1 CC19 vibrato rate The frequency range is approximately 2 5 8 Hz Default 70 CC26 note on
10. CC23 where CC21 uses higher modulating frequency To differentiate the results they can be used separately or mixed in different proportions Trumpet ensembles This package includes three Trumpets which slightly differ in timbre dynamic response natural pitch drift early reflections pattern etc A very convincing trumpet section can be obtained by loading all three trumpets Best result will be obtained by playing them individually using separate tracks and applying slightly different timing intonation pitch bending portamento vibrato depth and frequency etc Those small differences in sound and articulations are essential for a natural section sound Please note that even real trumpets if played in a very similar perfect manner may produce some phasing like sound 32 Unison Ensemble Multi NEW Special consideration has been given to the creation of realistic ensembles from solo instruments playing unison An advanced ensemble maker algorithm has been developed affecting timing Static and dynamic pitch evolution phase response to dynamics pitchbend velocity portamento times in such a way that each instrument of the ensemble sounds as if driven from a different track even if played in unison Unlike conventional ensemble libraries any articulation will always sound different yet real A ready to use Multi including three specially devised Trumpets suitable for unison playing from a single MIDI source along w
11. Controller v Fortamento Time Microtuning 23 Microtuning Main view This option opens the Microtuning panel Vel Mapping Expr Mapping Controllers 1 Controllers Z Controllers 3 scales Controllers 4 Controllers 5 Our approach to microtuning yields Mutes Early Reflections CE remapping 1 CC remapping 2 CC remapping 3 CC remapping 4 CC remapping 3 Wind Controller Breath Controller Portamento Time Transpose Timbral Shaping L e Amount 00 To Preset 1 Microtuning This is an entirely new feature coping with the requirements of musicians using non tempered maximal flexibility allowing user defined scales where the extent of detuning range 60 60 cents can be precisely set for each note by means of a sliding bar The scale can be saved and recalled as a preset The reference note and the overall amount of detuning can be set for each preset by acting on the Key button and the Amount knob respectively Example of Static detuning With this setting all E and B notes will be permanently detuned by 50 cents By setting the Key button to D all F and C notes would be detuned instead In addition selective detuning can be applied to individual notes in real time by using third level keyswitches similar to those used for split portamenti falls and doits In this case the Preset 2 should be used where all notes are detuned by a predetermined amount
12. The fall Starts upon pressing the KS The duration of the fall is determined by the KS velocity The fall can be interrupted before its natural end by releasing the KS or by playing a new note C2 Automated split portamento This KS modifies the normal portamento pattern into a harmonically based split portamento very typical for a trumpet This obviates the necessity of playing a very complex arpeggio with staccato notes instead of just overlapping the start and destination notes The overall portamento duration is similar to that of a normal portamento and is therefore determined by the velocity of the overlapped note and by the played interval Q Note C2 pressed along with another KS such as C1 to A 1 will activate non default e different types of split portamento and falls C2 C1 chromatic split portamento C2 C 1 mixed split portamento half amp full steps C2 D1 half valve portamento C2 D 1 Arabic scale split portamento C2 E1 pentatonic scale split portamento C2 F1 mixed mode half valve portamento C2 F 1 doit upward gliss C2 G1 half valve doit C2 G 1 chromatic long fall C2 A1 mixed fall half amp full steps C2 A 1 half valve fall 36 Appendix 1 Using the Convolution Reverb Both Kontakt 5 Player and Sampler have a built in convolution reverb It is capable of recreating a reverb of real acoustic environment previously sampled and stored as an IR Impulse Response
13. attack duration Default 84 CC27 note off release duration Default 15 v Note CC26 and CC27 also allow to modify the relative duration of each keyswitch See Performance Keyswitches below CC20 note on pitch modulation depth Reproduces the typical slight pitch modulation of the real attacks May vary from none more precise initial intonation to slightly excessive Default 64 14 CC22 on transition flutter intensity Bursts of high frequency flutter are automatically generated on transitions reproducing the behaviour of the real instrument CC22 controls the overall intensity of this flutter The recommended range is 45 to 75 Default 100 CC21 growl intensity High frequency flutter may be added by directly acting on this controller to produce a growly or dirty sound Default 0 CC23 frullato intensity Flutter tongue like effect may be added by directly acting on this controller Default 0 Oe Tip Different types of frullato can be obtained by adding CC21 to CC23 CC100 MIDI loadable mutes Loaded mutes are None default for CC100 between 0 and18 Straight 19 36 Cup 37 54 Bucket 55 73 Harmon 74 91 Harmon stem 92 109 for Unison Ens a specially devised IR to reduce phasing when playing unison 110 127 CC24 dynamics to pitch modulation In the real instrument the current pitch is affected by transient changes of the dyn
14. computer Please note this is possible even if you change from PC to Mac or vice versa 3 Remove the library from the Kontakt Kontakt Player on your old computer using the Remove function in the Kontakt browser the small gear wheel icon near the i icon Libraries Database Monitor Modules Auto Multi Rack C Add Library Instr Nau The Trumpet 3 THE rium jel SI Instruments Multis i Open containing folder The Trombone 3 0 Remoue library Delete completely all the product related files from the old computer 4 Perform the product activation on your new computer using the Add Library function as described in the Installation Guide 39 Technical Support All questions related to the installation and activation of The Trumpet or those pertinent to the Kontakt sampler player or the host sequencer DAW etc should be addressed to Native Instruments support http www native instruments com support info Specific questions on how to use The Trumpet should be emailed to Samplemodeling info samplemodeling com or via the contact page on our website http www samplemodeling com en contact php providing as much information as possible on the system including computer OS audiocard Kontakt version and sequencer and the settings A MIDI file showing the problem is usually the best approach to debugging Technology related questions exchange of experiences tips amp tricks exam
15. for controlling portamento time Portamento tine The slightly increased pressure associated with a keystroke may add some extra growl to the initial part of the note yielding very realistic effects K Tip The aftertouch is particularly suitable for controlling Growl or Flutter Tongue Realtime Timbral Shaping Harmonics Gain NEW Controllers CC90 CC93 are reserved for real time control of the Harmonics Gain related to the entirely new feature of Timbral Shaping see page 26 Harm Group Gain Harm Group2 Gain Harm Group3 Gain Their default setting is 64 In this neutral middle Nn EEE o position the timbre will entirely reflect the bar settings in the Timbral Shaping menu between 6 dB rie a E and 6 dB Harm Form Shift ee Outside the default value CC90 CC93 allow to shape the timbre in real time according to the following rules 64 CC91 controls the first lowest active harmonic or group of harmonics 16 CC92 CC93 controls the second active harmonic or group of harmonics if any controls the third active harmonic or group of harmonics if any CC90 controls the frequency shift of the harmonics settings pseudoformant shift Active harmonics means the harmonics whose bars are set to any value different from 0 Ty PEE Ry In this example CC91 will control the harmonic number 2 which is the first lowest separate bar set to a value 1 2 Preset 1
16. is undesirable since for example playing pp will always lead to long portamento and vice versa Linking portamento time to a separate controller such as CC5 permits to overcome this limitation The duration of portamento can now be controlled with any suitable physical controller mapped to CC5 If no controller is available one might still set CC5 to a suitable value by directly acting with the mouse on the appropriate knob in the Controllers 1 panel Portomento Time controlled by VEIE zE A mixed mode behaviour is also possible partially linking the EN duration of portamento to both dynamics velocity and CC5 allowing even greater flexibility and expressiveness Portamento tine 21 eee A pitch sensitivity knob is provided to compensate different pitch PEENE meee responses to lip pressure among different brands For example the pitch output of the Yamaha WC is generally smaller This can be fixed by setting Pitch Sensitivity to a higher 200 value The default setting 100 should be generally adequate for Akai devices EWI acc of UL vo WC mode is deactivated by clicking again on the Use Windcontroller yellow button Dynamics control will be automatically remapped to CC11 Breath controller Mode Main view This option opens the Breathcontrol panel Vel Mapping Expr Mapping By clicking on Use Breathcontroller button Controllers 1 Controllers Z Controllers
17. merge in the new instruments Click on YES otherwise the convolution reverb will not be loaded The Amount of reverb can be controlled by the Aux slider reverb send of any loaded instrument as shown below To make the Aux sliders visible click on the small Aux icon in the right upper corner peal Reverb setup example v Trumpet 1 v3 N Output st 1 v f Voices O Mas 6 Midi Ch omni 7 g Memory 61 86 MB wT v hee CSM MIVA ot V Keyboard Mode PETER SIEDLACZEK GIORGIO TOMMASIN Main view Aux Sends on a The above Multi uses an example impulse response encoded in the library There are further impulse responses in the Kontakt player folder see Using the Convolution Reverb above You can exchange them by drag amp drop Please refer to the Kontakt Kontakt Player manual for further details Kontakt 5 Modules Auto 38 Appendix 2 Moving from one computer to another If you wish to move our instruments to your new computer please follow the steps below 1 Make sure that you know your serial number license key you received after the purchase The number can be also viewed in your Service Center the utility application belonging to the Kontakt software or in your Native Instruments account 2 Install copy the instruments exactly like you did on your first computer Alternatively you can copy the library folder e g The Trumpet v 3 from the old to the new
18. of 50 cents which of course can be modified by the user Key L ka e Amount bea w 4 Preset 2 a Micratuning T Directly using such a preset wouldn t make much sense since all notes would be detuned the same way However since the player wishes only certain notes to be detuned he simply needs to hold the sustain pedal CC 64 down while pressing the keyswitches C1 to C2 corresponding to the keys he wants to detune For example pressing the sustain pedal plus DO F 0 and AO detunes all D F and A notes by the preset amount The currently detuned notes will be displayed in the GUI as shown below 24 Key Each time one presses E m the sustain pedal the detuning of all notes will Amount ie be reset allowing a new M set of detuned notes to ikem be chosen Micratuning r Note Using the sustain pedal for this purpose requires that the CC only option is enabled under Instrument Options gt Controller gt MIDI Controller 64 see below This corresponds to the default setting Instrument Options Instrument 2 ee k MIDI Controller 64 Sustain Pedal acts as CC only Yorce Handling Accept all notes off all sounds off A OFO Accept standard controllers for W olume and Fan gt T Controller Hidi Controller 7 CYolurme ran qe oo 6 dB Snapshots Infos Saving and restoring Microtuning settings Any Microtuning setting can be stored as a preset Ten
19. only CC25 allows to control the initial dynamics by note on velocity This allows fast sforzato crescendo effects often too difficult to create with the expression pedal CC11 If CC25 is greater than zero and note velocity is higher than a preset threshold 80 a sforzato effect is obtained In the opposite case one gets a fast crescendo 15 The intensity of either effect is proportional to abs velocity 80 CC25 some complex math here Thus the overall dynamic excursion is proportional to CC25 It varies from zero no dependence on velocity to 127 initial dynamics determined only by velocity Default 127 CC5 portamento time By default the duration of reath controller portamento is controlled by the velocity of the overlapped note Under some circumstances it may be eee preferable to control the duration of portamento with a dedicated CC This is particularly true when using a Wind Controller where the velocity of the overlapped note basically corresponds to the current dynamics Lower dynamics unavoidably yield long portamentos and vice versa By activating Portamento time in the drop down menu Portamento Time controlled by you will open a dedicated window The two knobs show Velocity ras how the duration of portamento is currently controlled CY m 100 4 D Th Default is 100 by velocity as already stated By acting on the knobs you may set the relative weight of velocity vs CC5
20. providing a rounder more muffled sound The bulbous hollow Harmon mute provides a very characteristic sound similar to the Miles Davis sound of the trumpet It completely blocks the air output forcing it to pass the hole in the middle of the mute providing a very bright buzzy sound frequently used in Jazz Harmon can be combined with the stem which is a short metal pipe with a funnel like end fitted into the hole of the Harmon mute The Bucket mute uses some soft materials which remove the high frequencies providing a much softer darker sound The Plunger which indeed is very similar to an unused toilet plunger is kept by the player in one hand and manipulated in front of the bell By closing and opening it the typical wah wah effect even imitating the human voice can be obtained All these mutes are available for use with our trumpets We used sophisticated technologies to capture the fingerprints of each mute which were ultimately coded into a suitable impulse response IR The latter can be instantly loaded from a drop down menu of the graphical interface or via MIDI using CC100 see MIDI loadable mutes page 15 Ok Tip In the drop down menu Mutes you will also find an entry named for Unison e7 Ens This is a specially devised IR markedly reducing the phasing which may occur when several instruments are driven from the same MIDI track i e in unison The Graphical Interf
21. remapping 4 control there might be cases where linking portamento CC remapping 5 time to a separate controller such as CC5 would be Wind Controller preferable By setting the right knob to 100 the duration Breath Controller of portamento could be linked to any physical controller Portamento Time mapped to CC5 Transpose A mixed mode behaviour is also possible partially linking feo e the duration of portamento to both velocity and CC5 _ allowing even greater flexibility and expressiveness In this example portamento time is determined 30 by the velocity of the overlapped note and 70 by CC5 Portamento Time controlled by Portomento tine Transpose This option opens the Transpose panel Main uien Vel Mapping Expr Happing Transpose Controllers 1 a 0 Controllers z Controller 3 Transpose Controllers 4 Controllers 5 Mutes Early Reflections The MIDI Transpose knob allows shifting of the instrument CC remapping 1 mapping 36 semitones Please note that the Key CC remapping 2 Switches will be correspondingly shifted as well CO remapping 3 CC remapping 4 R Note When transposing always use the Transpose knob described above or the transpose function of your MIDI source Do not use MIDI Transpose function of the Kontakt software Instrument Options since it does not transpose the key switches and limits the instrument range CC remapping 3 Wind Controller Breath
22. supplied with the Kontakt Player 5 4 the read only version of Native Instruments sampler It is a separate installer and no additional software is required to play the instrument Stand alone mode as well as plugin formats VST AU and AAX are supported Earlier Kontakt versions cannot be used For further details please refer to the Player Manual Kontakt 5 Sampler The instruments can be also loaded and played in the full version of Kontakt 5 4 Please note however that they cannot be opened or modified and no access to the samples impulse responses or instrument programming is provided Installation Please read carefully and follow the instructions found in the separate Installation Guide Accessing the Manuals This Manual and other Trumpet documentation can be accessed at any time by clicking on the i icon in the Kontakt browser Files Libraries Database Auta Add Library Instr Ha The Trumpet 3 lt lt THE Y Instruments For Unison Ensemble Other Instrurnents We Trumpet 1 u 3 nki Alternatively the pdf files can be opened directly they are placed in the folder Documentation inside the library folder The Trumpet 3 The Kontakt Kontakt Player Manual is available from the Kontakt Help menu Kontakt 5 Auto System requirements Operating systems PC Windows 7 or 8 latest Service Pack 32 or 64 bit Mac Intel only OS X 10 8 10 9 or 10 10 latest update Note
23. two or more overlapping notes Typical trumpet shakes can be played either using the technique described above or raising the ModWheel CC1 to 110 127 In this latter case a very realistic vibrato to shake transition will be obtained Falls Falls are descending glissandos going to nowhere i e they just fade out and do not stop ona particular note If performed using only the half valve sound which is more suitable for longer falls they sound smoother and softer If a punchy or sloppy fall is needed a series of notes usually in f ff is played either chromatic or using any other e g harmonic series of notes These articulations may be directly executed on the keyboard by skillful players However more conveniently the same effect will be obtained by using dedicated keyswitches For more details please refer to the Performance Keyswitches below Growl amp Flutter tongue These playing techniques provide a characteristic dirty sound which is the result of a frequency modulation of the sound The most common is growling accomplished by singing a tone of a different pitch vocalizing while playing a note The flutter tongue frullato is accomplished by modulating the airflow while playing a note the trumpet player flutters his tongue making the typical Frrrrr sound similar to pronouncing a rolling R The Trumpet uses 2 controllers to obtain growling and frullato effects CC21 and
24. C26 also allows to modify the relative duration of each note on and on the fly keyswitch To perform this you need to set the controller while holding down the keyswitch Similarly CC27 will allow to modify the relative duration of each release keyswitch A message on the lower bar will report the new value Please note that this new value will be stored along with the instrument replacing the default By pressing a keyswitch the associated value will be displayed on CC26 and CC27 GUI knobs v Non modulating keyswitches A 1 Wah wah effect This KS activates the wah wah effect of the plunger mute In this mode CC11 directly modulates the wah wah effect itself i e the degree of the plunger closure Both a momentary and a toggle mode are available The momentary mode is activated when the KS A 1 is hit at velocities below 64 In this case the wah wah effect will be active as long as the A 1 KS is kept pressed Velocities above 64 activate the toggle mode which maintains the wah wah until the A 1 KS is hit again Please note that in order to avoid glitches in the audio output activation deactivation of the wah wah will actually take place at the end of the currently played note or phrase The wah wah effect can also be used with all the other mutes B1 Short fall This KS reproduces a typical short fall from the currently played note This obviates the necessity of playing a very quick scale with staccato notes to get the same effect
25. Even if you do not own the full Sampler you can apply this high quality reverb to any patch using the Player included in this library Open the output section of the Player and insert the Convolution into the Aux channel Click on Conf and make sure that the output of the Aux channel is routed to the main output Open the convolution unit double clicking on the insert and drag and drop any Impulse Response as wav file into its editor window You will find a small library of the IRs in the Player folder Kontakt 5 gt Presets gt Impulses Move the slider DRY to zero to eliminate the direct dry signal Outputs Presets Batch Configuration X Add Channels Delete Channel Show Inserts Edit Effect Convolution Pre Dly IR ConcertHall Medium wau EILA Bit 24 Length 1 20s Ch 2 Early Bypass 0 00 ms Preset IR Size 100 0 va HighPass Latency Auto Gain S Rate v Reverse Volume Envelope st 1 faux B aux2 Bi aux3 Bi aux4 cu v a Las hg 00 00 0 0 13 14 1S 16 TANS For more details refer to the Kontakt Player Guide 37 The Reverb Multi A useful application of the convolution reverb described above is supplied with the Trumpet package within the Multis folder as Reverb Setup nkm This is an empty setup loading a convolution reverb inserted in the output section of Kontakt While loading this Multi the following question appears Replace multi pressing No will
26. Mutes CC remapping 3 Fitch amp Tirne related CC remapping 4 Timbral Shaping CC remapping 5 Virtual Soundstage Wind Controller Breath Controller Portamento Time Transpose Microtuning Timbral Shaping Velocity Mapping Main view It is well known that MIDI keyboards have different and uneven velocity response and this may heavily influence the Expr Mapping performance of a virtual instrument To obviate this problem the instrument includes automatic detection of any velocity inhomogeneities or non linearity emitted by the keyboard and provides automatic remapping to any desired curve If Vel Mapping is selected in the drop down menu the velocity mapping GUI will be displayed As a default velocity mapping is disabled 11000 eea a ems jij 66 e sja 7 un Mapping button until it turns white Pa Now the relationship between in X axis and out Y axis velocity values is represented by the upper arti eee wm graph A straight line from bottom left to top right means linear mapping i e no changes The graph can be directly edited with your mouse so that you can program any velocity response you need To compensate for a nonlinear behaviour of your keyboard an automatic CHAE i i se dlibration calibration procedure is provided Just click on the Calibration button until it turns white Now what you have to do is hit any key at random velocities trying to cover the who
27. Portamento Eee E Note on keyswitch E On the fly keyswitch On release note off keyswitch press before playing press while playing press before releasing w key activates the Second Level Keyswitches Mixed Arabic Doit Chromatic Half valve Fall Fall A 1 Gliss 2 Half valve Jf Mixed mode E Split portamento or glissando E Fall E Doit Three types of modulating KS are available 1 Note on KS C1 D1 When held down these KS will affect the next detached note s 2 On the fly KS D 1 F 1 They immediately affect the currently played note adding some characteristic modulation patterns 3 Note off KS G1 A1 They affect the release of the current note s Three types of non modulating KS are also available 1 Wah wah effect A 1 2 Default fall B1 3 Modeled split portamento and falls C2 Note on legato portamento on the fly and release KS do not produce repetitive stereotypical patterns as a presampled articulation would do Rather they act by modulating the note so that the current dynamics pitch and evolution are preserved This ensures that a virtually infinite series of nuances can be elicited by pressing a single KS The intensity of the effect carried out by a modulating keyswitch is linked to the KS note on velocity from none to slightly excessive for special effects The duration of the modulating KS articulation has a default value of 64 which is generally most appropriate It can h
28. The Trumpet 3 User Manual Version 3 for Kontakt 5 tommasini 3 Bb Trumpets Piccolo Trumpet Classical German Trumpet i Cornet Fl gelhorn VIRTUAL INSTRUMENT samplemodelled Ins r uments Created by Giorgio Tommasini amp Peter Siedlaczek Table of Contents Before you begin 3 Kontakt 5 3 Installation 3 Accessing the Manuals 3 System Requirements 4 General Notes 6 MOST IMPORTANT 6 Introduction 7 The Instruments 8 The Mutes 9 The Graphical Interface GUI 10 Velocity Mapping 11 Expression Mapping 12 Controller knobs 13 The Controllers CCs and their function 14 Timbral Shaping 16 Virtual Soundstage 18 Volume control by CC7 18 The Mutes 19 Early Reflections 20 CC remapping 20 Wind Controller Mode 21 Breath Controller Mode 22 Portamento Time 23 Transpose 23 Microtuning 24 Timbral Shaping panel 26 Playing Techniques 30 Unison Ensemble Multi 33 The Performance Keyswitches 34 Appendix 1 Convolution Reverb 37 Appendix 2 Moving to another computer 39 Technical Support 40 Before you begin What s new in Trumpet v 3 0 This new release includes several new features For a detailed description please refer to the dedicated chapter 1 New Early Reflections algorithm 2 Virtual Soundstage including distance control 3 Real time Timbral Shaping 4 Microtuning 5 Expression Mapping 6 Unison Ensemble Multi 7 Special Impulse Response for Unison Ensemble Kontakt 5 Player The Trumpet 3 is
29. ace GUI a r Trumpet 1 v3 gt e frt r Output st 1 Voices O Max 64 Purge 0 00 Midi Ch omni gt Memory 61 86 MB win aja Lar H E i MU AAAALAL A a LL LJ FEC E r WARNING CCT not received yet The instrument will not work properly Keyboard Mode PETER SIEDLACZEK GIORGIO TOMMASINI Main view 7 This is how the instrument looks upon loading A warning message appears reminding you that An Expression controller CC11 CC7 or CC2 is absolutely necessary for proper functioning of the instrument a 2 Trumpet 1 v3 1 gt gt O e Tune Output st Voices oO Max 64 Purge 0 00 Midi Ch omni g Memory 61 86 MB m ija Hz H E E PA E K L UA A G EAR A he G ee oe se Po lt 2 rA A E Pi v3 Keyboard Mode PETER SIEDLACZEK GIORGIO TOMMASINI Main view Upon receiving the appropriate CC from your keyboard or other MIDI sources such as a windcontroller or sequencer the warning disappears and the instrument is fully functional The grey button in the lower right corner opens a drop down menu 10 You may choose among several options Yel Mapping Expr Mapping Controllers 1 Realtime soundshaping Controllers 2 Modulation Effects amp Mutes Controllers 3 Pitch amp Tirme related Controllers 4 Timbral Shaping Controllers 3 Virtual Soundstage Mutes Early Reflections CC remapping 1 Realtinne soundshaping CC remapping 2 Modulation Effects amp
30. amics The Trumpet exactly reproduces this behaviour The intensity of this pitch response can be varied with CC24 to better cope with different styles For example baroque music generally exhibits less fluctuations and the overall pitch tends to be more steady You may reproduce this behaviour by decreasing CC24 somewhat from the default value of 64 Conversely a funny trumpet mimicking the performance of a beginner or a drunken player see The Trumpet performance at http www sample modeling com Demos 5 Oktoberfest mp3 can be obtained by increasing CC24 to very high values Tip Higher settings of CC24 may also allow Breath Control players to perform a realistic vibrato by simply modulating the air flow CC28 random detune NEW Real playing is almost invariably characterized by slight pitch fluctuations and the average pitch often departs from the tempered scale The latter phenomenon is also likely to affect more the initial part of the note before the players starts to to correct the pitch This behaviour is reproduced with the Trumpet according to a pseudo random model The intensity of this effect can be controlled with CC28 Zero means no detuning Default setting is 64 CC32 pitch fluctuation NEW Controls the extent of the slight pitch fluctuations described above from very slight CC32 0 to strong CC32 127 Default setting is 64 CC25 dynamics linked to velocity The dynamic is normally controlled by CC11
31. as preset 1 Preset 6 Preset Preset 8 Preset 9 Preset 10 gt Save as Preset 1 gt Saue as Preset 2 gt Soue as Preset 3 gt Saue as Preset 4 gt Saue as Preset 6 Example presets There are 4 example presets stored under Preset 2 5 Preset 1 flat no predefined settings Preset 2 Boost of middle harmonics more nasal or brassy sound used in Trumpet 2 Preset 3 Boost of lower harmonics for a warmer fuller sound used in Trumpet 3 Preset 4 Prepared for the use with the realtime control via CC91 93 where CC91 controls the first harmonic CC92 the second and CC93 the third harmonic all bars are set to minimal values making them active see Tip on page 29 below Preset 5 Talkbox like effect to be used with modulating CC90 Pressing the Bypass button temporarily switches off the effect of Timbral Shaping Tip To reset a single bar left click on the bar you want to reset to zero while pressing the Cntrl key To reset all the bars simply drag across the bars while left clicking and holding the Cntrl key 28 U Note Timbral Shaping activates an automatic loudness compensation which keeps the Ny overall volume virtually constant independently of the settings of the bars and of CC91 93 Harmonics Gain vs external controllers Tame Controllers CC90 CC93 are reserved for realtime control of the Harmonics Gain They ca
32. butes to the richness of the sound Using the spatial information gathered from multi microphone recording a specially devised early reflection impulse response has been developed which recreates the original radiation pattern in a virtual space from the anechoic sound The intensity of this effect can be controlled with CC29 Default value 75 CC31 pre delay Controls the time delay of the first early reflections Default 0 corresponding to about 20 msec CC10 panning It spans from zero extreme left to 127 extreme right Default 64 middle CC14 distance Controls the perceived distance from the player Default 0 U Note When panning do not use the standard pan slider on the Kontakt GUI 37 Always use the Virtual Soundstage pan knob CC10 described above which provides a much better spatial localization Q Note setting CC29 to zero sets the early reflection convolution in a bypass mode 7 leading to a decreased CPU load This setting is however generally best avoided since it spoils the sound and the spatialization of the instrument In any case it may only be used in conjunction with an external reverberation unit including a suitable ER algorithm Volume control by CC7 Tip If you wish to control the instrument volume not the dynamics by CC7 don t forget to enable this function by checking the box Accept standard controllers for Volume and Pan under Instrument Options gt Controller
33. drivers ASIO for the PC is required Recommended buffer sizes may range from 128 low latency hight CPU load to 512 samples higher latency but less CPU load MIDI interface A MIDI interface is required if using a MIDI keyboard another MIDI controller or an external sequencer unless the connection is made via USB Keyboard or Windcontroller A five octave MIDI keyboard mappable from C1 to C6 with pitchwheel modwheel and an expression pedal or breath controller constitute the minimum requirements for realtime playing Six octave keyboards with several physical MIDI controllers including expression and sustain pedals or a Windcontroller are recommended for full exploitation of the expressiveness of the instrument Sequencer If realtime playing is not contemplated you will miss some great fun though programming MIDI tracks in a sequencer may avoid the need for several physical MIDI controllers while maintaining full control of the instrument expressiveness The Trumpet 3 0 has been thoroughly tested on several sequencers including Cubase Ableton Live Digital Performer Logic Sonar Studio One and Pro Tools Supported Plugin Formats PC VST or AAX 32 or 64 bit Mac AU AAX or VST 32 or 64 bit For more details please refer to Kontakt 5 Specifications on the Native Instruments site General Notes O MOST IMPORTANT Like a real instrument and unlike conventional sample libraries the Tr
34. e highest register not only in Baroque music Piccolo Trumpet sounds smaller and brighter than the BP trumpet All these instruments are now at your fingertips You can really PLAY them shaping the sound like a real trumpet player does But please read the manual first and learn more about how to do it in the best way It is easy and intuitive but like every music instrument The Trumpet needs some practice and experience You will certainly learn it very quickly The demonstrations we prepared show how realistic our trumpet sounds If you want to learn more about how this has been achieved please visit our homepage and download the demos we prepared for you as MIDI files http www samplemodeling com en demos_trumpet ph The Mutes Mutes are devices affecting the timbre and or volume of an instrument The trumpet like other brass instruments uses a wide range of mutes the most common are Harmon with or without stem Straight Cup Plunger and Bucket They are mostly cone shaped and are inserted into the bell or simply held or clipped outside the bell Depending on the shape or material metal wood plastic they may significantly vary the sound of the trumpet The most common mutes are Straight commonly used cone shaped hollow mute provides more metallic and nasal sound It is available for all the brass instruments The Cup mute which is similar to the Straight decreases high and low frequencies
35. horn E2 C5 Cornet E2 G5 Piccolo Trumpet G 2 G5 Basic playing techniques Detached notes Detached non legato is a note separated from the previous one by some amount of time They consist of an attack a sustain and a release phase The type of the attack depends on the interaction between note on velocity and CC11 As a general rule the higher the velocity the more punchy the attack However a much more sophisticated approach linked to CC25 as described above in The Controllers and their function page 14 allows the player to shape virtually any attack from a crescendo low key velocity to a neutral medium velocity attack to a sharp high velocity sforzato effect 30 One can also vary the pitch modulation depth of the attack and its duration adding a characteristic timbral richness acting on CC20 and CC26 respectively The dynamics of the sustain phase is entirely under control of CC11 You may continuously morph from pp to ff by acting on your expression pedal or breath controller A natural release curve is performed on note off The duration of the default release can be varied with CC27 The default setting of 15 corresponds to a rather short decay Please refer to the Controllers section above for more details Legato Portamento notes Legato means bound together legato notes are not separated but rather connected to the previous note by some form of transition The transitio
36. ith an appropriate ambience convolution reverb is included in the package The screenshot below shows the three trumpets included in the Multi displayed in the reduced instrument header view rather than in the larger Performance View a Trumpet 1 v3 Sinai Unison Ensemble gt B 3 tin Output st 1 it Voices O Mas 64 Purge 0 00 Midi Ch omni Memory 61 86 MB en m Kja m v Se eee eee gt O O B e Tune 7 Output st 1 ty Voices O Max 64 Purge 0 00 6 Midi Ch omni Memory 60 39 MB pr MI VP acs Trumpet 3 v3 al Unison Ensemble gt B gi e Bote Output st 1 t Voices O Max 64 Purge 0 00 x Midi Ch omni Memory 61 23 MB mn ml ale a Clicking on the small AUX icon on the right margin of the instrument opens the AUX sends section of the instrument as shown above They control the amount of the reverb separately for each instrument The convolution reverb itself can be accessed in the Output section of the Kontakt Kontakt Player see Kontakt Manual for details BC and WC are versions ready to play with a Breath or Wind Controller O Tip while opening a multi the following question appears Replace multi pressing No will merge in the new instruments Click on YES if you want to load the multi with the convolution reverb Click on NO only if you need a setup without ambience reverberation or you prefer to use your own reverb Note loadi
37. le velocity range Each new output velocity will appear as a new bar in the lower panel The overall velocity curve output of your keyboard will progressively be updated in the upper panel The response of a nonlinear keyboard 11 After you re finished with the automatic mapping procedure i e when you notice that no new velocity bar appears anymore disable Calibration by clicking sail on it until it turns grey From now on compensation wll mope for nonlinearity of note on velocities will be carried N aS enio correct the compensated curve with your mouse Calibration uote Please note that all changes will be maintained upon storing and reloading the instrument Tips left clicking and dragging the mouse allows free hand drawing Right clicking and dragging enables drawing of straight lines Please note that constructing curves with multiple straight segments can be easier and faster O Left clicking and dragging the mouse while pressing Cntrl resets the corresponding bars to zero Expression Mapping NEW Main view The default setting for the expression controllers CC11 or Yel Mapping CC2 is linear in a dB scale This means that a linear rise of Espr Mapping the expression CC yields a perceived linear crescendo While Controllers 1 Realtime soundshaping this is perfectly suitable for most applications there might be cases where a nonlinear mapping would be advantageous A very intimate
38. n be accessed and monitored on the Menu page Controllers 4 Timbral Shaping Horm Group Gain Harm Group2 Gain e CCS e cca e 64 Eq Harm Form Shift ran Their default setting is 64 In this neutral middle position the timbre will e entirely reflect the bar settings in the Harmonics Gain menu between 6 dB and 6 dB However controllers CC90 CC93 can be used to shape the timbre in real time Please refer to the Menu page Controllers 4 Timbral Shaping for further details K Tip 4 If you intend to use the real time control by any of the controllers CC91 93 consider using very small shallow settings of the bars as close to 0 as possible like for example in the Preset 4 These settings since different from zero will make the particular harmonic active i e fully responsive to CC91 93 However their level will be fully under control of the CC91 93 knobs in both directions 6 dB with practically zero gain no changes in timbre if the controllers are set to the middle 64 Timbral Shaping is intended to be used for effective sound shaping of the instrument by permanent gentle enhancement or reduction of certain groups of harmonics introducing for example a warmer softer more nasal or midrange sound dynamic CC controlled real time modulation of the tone quality adding more liveliness to the sound
39. n time and type between subsequent notes represents one of the most important elements of expression If it s short it is usually named legato If exceeds a certain time the transition may carry from one note to another by a slide which is called portamento On a real trumpet this can be achieved by skilled control of the lip tension and or by changing the tube length with the valves To get a legato or portamento with our virtual trumpet is indeed very easy You only need to overlap subsequent notes with the appropriate velocity The duration of legato portamento ranges from 30 msec to about 1 sec depending on the velocity of the overlapped note and on the played interval Normal legato is obtained with velocities ranging from 70 to 90 Lower velocities lead to a more trumpet like portamento effect Portamento may be interrupted by overlapping a new note This leads to the very realistic effect of a split portamento especially if a wide interval is played in an arpeggio like fashion Please note very low velocities below 10 which are necessary for longer portamentos might be difficult to play on some keyboards so the proper calibration of the velocity response of your keyboard may be very helpful Under these circumstances we strongly recommend using our velocity remapping tool Please refer to the Menu description above to learn more how to apply it Half valve sound To perform legato portamento on a real trumpet
40. ng range corresponds to that of a top professional player and extends from E2 to G5 Bb Trumpets Cornet E2 C5 Flugelhorn German Trumpet or G 2 G5 Piccolo Trumpet Three Bb Trumpets Along with the main solo Bb trumpet Main Trumpet you will find 2 other ones named Trumpet 2 and Trumpet 3 sounding slightly different and suitable for being used in trumpet sections which shouldn t mean that your arrangements need to be limited to 3 voices only Flugelhorn Similar to the trumpet but with a wider conical bore the Flugelhorn provides a darker and much softer tone Its beautiful warm sound is mainly used in jazz or in brass bands as well as in popular music German Trumpet This more massive type of trumpet uses rotary valves and sounds less bright than the jazz trumpet It possesses a larger volume of tone which may better blend with other instruments It s mainly used in classical music Cornet Similar to the trumpet but more compact in shape It sounds a bit warmer and mellow Its agility makes the Cornet particularly suitable for melodic passages It is mostly used in brass bands but also in jazz ensembles Piccolo Trumpet Also known as Bach trumpet it represents the smallest instrument of the trumpet family Its tubing which is only one half the length of the normal trumpet as well as other construction details make this instrument more advantageous for playing in th
41. ng multiple instruments on a single instance of Kontakt leads to a less efficient use of the multiple cores and to an increased CPU load In case you are experiencing excessive CPU load and or dropouts with this Multi we strongly recommended to use a separate instance of Kontakt for each instrument Please load the Trumpets labeled for unison ensemble They are perfectly suitable for unison playing even if driven from a single MIDI source Please note that in this case the ambience reverb must be provided by the user v 33 The Performance Keyswitches Basic concepts The keyswitches KS are conceived to ease the task of shaping complex articulations or phrases which are impossible or too difficult to perform with the usual interaction of the expression pedal pitchbend and modwheel For example accent fast crescendo upward pitchbend on the fly modulation and different types of release can be obtained by hitting one or more of the modulating keyswitches Non modulating keyswitches perform several specific tasks such as wah wah effects automated split portamentos and other typical phrases such as falls or semi legato The reserved keyswitch range is C1 D2 The Trumpet Keyswitch Assignment Fast Vibrato Short Legato gt Crescendo pettea Ending 2 Release 2 detached G 1 Accent Pitchbend Pitchbend Vibrato Down PB fj Yibrato End f Short fall Split up down Ending 1 on Release on Release
42. nics for a more nasal sound etc Microtuning NEW Another new feature is microtuning applicable to individual keys even in real time to better cope with non tempered scales so essential in for example Middle Eastern and Asian music Expression Mapping NEW User drawn nonlinear rescaling of the expression CC may give better control of the dynamics particularly when tailored to suit your own input devices like breath or wind controllers For Unison Ensemble IR NEW A specially devised Impulse Response markedly reducing the phasing which may occur when several instruments are driven from the same MIDI track i e in unison Unison Ensemble Multi NEW Special consideration has been given to creation of realistic ensembles from solo instruments whether driven from separate MIDI tracks or when playing unison An advanced ensemble maker has been developed affecting timing static and dynamic pitch evolution phase response to dynamics pitchbend velocity portamento time in such a way that even if driven from a single MIDI source each instrument will sound slightly different as if played by a different musician A ready to use Multi including three specially devised trumpets the ensemble maker and an appropriate convolution reverb suitable for unison playing straight out of the box is included in the package The Instruments The Trumpet package includes several instruments belonging to the same family Their playi
43. nstruments It covers an incredibly wide range of sounds and moods Whether dealing with a huge orchestral arrangement a pop song a powerful fanfare a classical sacred work or a military march the trumpet is an indispensable instrument in a vast majority of musical styles However it s extremely difficult to emulate a true challenge for developers of virtual instruments Our virtual instrument uses recorded samples of real trumpet as base material This proved to be the best choice to preserve the timbral characteristics of the original instrument We used state of the art recording techniques including multi microphone placement according to the radiation characteristics of the instrument But we went beyond All sounds were recorded in an anechoic chamber To our knowledge The Trumpet The Trombone and French Horn amp Tuba are the only sample based anechoic virtual instruments developed so far Like the other Kontakt based Samplemodeling instruments the Trumpet 3 uses Giorgio Tommasini s proprietary Harmonic Alignment technology It enables realtime seamless morphing over the entire dynamic range from pp to ff an impossible task for conventional sample based libraries Why anechoic The purpose of anechoic recording was threefold 1 avoid contamination of the pure trumpet sounds with the uncontrolled resonances of a particular ambience 2 allow artefact free harmonic alignment processing 3 provide clean artic
44. owever be varied by holding down just the selected KS while setting CC26 for note on or 27 for release to the desired value Note on and legato portamento keyswitches C1 Accent Adds an accent to the next detached note s C 1 Fast Crescendo Imparts a slight crescendo pattern to the next detached and legato note s D1 Upward pitchbend Applies an upward pitchbend to the next detached note s On the fly keyswitches D 1 Transient Vibrato Adds a particular type of expressive transient vibrato to the current note E1 Fading Vibrato Adds a characteristic short fading vibrato to the current note F1 Vibrato like ending 1 Modulates the current note with a typical vibrato like pattern F 1 Vibrato like ending 2 Modulates the current note with a characteristic shorter and more definitive vibrato like pattern Note off keyswitches G1 Release pattern 1 Imparts a longer rich release pattern to the next note off G 1 Release pattern 2 Imparts a characteristic vibrato like ending release pattern to the next note off 35 A1 Release pattern 3 Imparts a characteristic vibrato like ending release pattern to the next note off Very suitable for faster sequences X Tip note on on the fly and note off KS may be simultaneously activated for multiple modulations For example by holding down CO and AO one can obtain an accented pattern with vibrato like endings on each next staccato note rd Note C
45. piece never entering the high dynamic range or a windcontroller too easily jumping to very high CC2 value are examples where a nonlinear mapping of expression could be very useful If Expr Mapping is selected in the drop down menu the velocity mapping GUI will be displayed As a default Expression Mapping is disabled Expression mapping is activated by clicking on the Active button until it turns white seal Now the relationship between in X axis and out Y Active Smooth a axis expression values is represented by the upper graph A straight line from bottom left to top right means linear mapping i e no changes The graph can be directly edited with your mouse so that you can program any expression response you need The Smooth button facilitates the task of drawing smooth curves An example of a nonlinear mapping This example shows how to avoid very high dynamics Mapping may be bypassed by clicking on the Active button until it turns grey Please note that all changes will be maintained upon storing and reloading the instrument Active Smooth Expr Mapping 12 Tips left clicking and dragging the mouse allows free hand drawing Right clicking and dragging enables drawing of straight lines Please note that constructing curves with multiple straight segments can be easier and faster Left clicking and dragging the mouse over the bars while pressing Cntrl resets these bar
46. ples demos mp3 can be posted in our forum http www samplemodeling com forum after registration For future Updates of the Trumpet 3 please check the UPDATE tab within the Service Center the utility belonging to the Kontakt software Refer to the Kontakt Manual for more details rf itl i modeling Copyright 2015 Giorgio Tommasini amp Peter Siedlaczek All rights reserved This guide is written by Giorgio Tommasini and Peter Siedlaczek Art design by Vadim Nekrasov Shramm 40
47. presets are available numbered from 1 to 10 They will be stored when saving the instrument and will be immediately available upon reloading Please note unlike the storage function within the Timbral Shaping feature see below storing Microtuning settings does not require clicking on save as Preset The user acts by directly modifying the preset so that any previous setting is automatically overwritten Example presets Preset 1 Empty Default preset used when no microtuning is required Preset 2 Template for detuning on the fly using the Keyswitches see above There are several wonderful Arabic scales modi using quartertones and other micro intervals stored under Presets 3 7 Preset 3 Rast C D E 50 F G A B 50 C Preset 4 Husseini D E 50 F G A B 50 C D Preset 5 Sigah E 50 F G A B 50 C D E Preset 6 Saba D E 50 F Gb A Bb C D Bayati D E 50 F G A Bb C D Preset 7 Garib Higaz D Eb 15 F 25 G A Bb C D 25 Timbral Shaping Main view This option opens the Timbral Shaping panel Yel Mapping Expr Mapping Controllers 1 Controllers 2 Controllers 3 Controllers 4 Controllers 5 Mutes Early Reflections 1 2 3 4 5 6 7 8 95 10 CC remapping Preset 1 Tirnbral Shaping CC remapping CC remapping 3 CE ing cilia This revolutionary new feature adds a virtually infinite timbral variety to sample based instruments by acting on the amplitude of indi
48. s to zero Controller Knobs Pain uiewu el Mapping Expr Mapping Controllers 2 Modulation Efrects amp Mutes Controllers 3 Pitch amp Tirme related Controllers 4 Timbral Shaping Controllers 3 Virtual Soundstage All the controllers needed for proper functioning of the instrument are mapped to virtual knobs in five GUI panels which can be activated by a drop down menu The function of each controller is indicated by the associated label The virtual knobs permit to monitor the incoming midi data but can also be used to directly control the instrument This allows users of keyboards without physical MIDI controllers or knobs to explore the expressive capabilities of The Trumpet Dynamics Vibrato Intensity Vibrato Rate The five Controllers GUIs show each MlDl controlled function Em COT CCI CC19 amp on a gt CJ the associated CC number and its Attack Time Release Time current value Each knob is bidirectionally mapped to its CC This means that you may set CC2Z6 Ea D aT 90 S Controllers 1 each CC by moving the Attack Modulation Transition Flutter Growl bad ce20 e CC22 r 64 64 Flutter Tongue Mute None ccio0 o ie associated knob Conversely any incoming MIDI CC will be mirrored by the corresponding knob and its current value will be shown on the display panel Controllers 2 Random Detune Pitch Fluctuation T GIS 64 Controllers 3 13 Harm Group Gain Harm
49. special effects like modulating the frequency of fancy gain settings of single harmonics for example for some interesting vowel like effects creating fully unconventional sounds far away from the timbre of the real trumpet 29 Playing Techniques Despite its structural complexity this instrument is very intuitive and easy to play The Trumpet does not use pre recorded articulations and shaping the sound is the task of the player carried out by proper use of a few midi controllers However extensive use of advanced Artificial Intelligence Al techniques greatly facilitates this task Our revolutionary Adaptive Model approach acts by minimizing the differences from the real instrument whatever articulation or phrase you play You can therefore concentrate on creating music rather than mastering complex sample bank management Nevertheless thorough knowledge of the controllers and the keyswitches and some practice are certainly needed to get virtuoso effects Before starting to play please make sure your expression pedal or breath controller is connected to the keyboard and properly mapped to CC11 or CC2 Playing range Active notes of the Bb Trumpets are in the range of E2 G5 D 2 and G 5 are silent notes useful for portamento amp falls to nowhere C1 to D2 are reserved for the performance keyswitches see Key Switches below The range of the other instruments is German Trumpet Flugel
50. t to the middle 64 Please note that acting on single harmonics provides usually more radical changes in timbre suitable for special effects whereas acting on a group of harmonics using wider curves and Harm Group2 Gain CE not too excessive gains yields more natural results Harm Groupi Gain CCH Harm Groups Gain CCH If simultaneous control of all three harmonics or harmonic SLURS CCH groups with just one MIDI controller is required you can use the remapping feature CC remapping 4 from the drop down menu and assign a single CC ex CC91 to each Harm Group Gains CL remapping 4 17 Virtual Soundstage NEW Early Reflections Predelay This new feature allows precise positioning of the instruments in a cc29 cc3t virtual space located before the listener using early reflections amp an a z pre delay convoluted panning and perceived distance algorithms This will set you free of adding a further suitable acoustic environment without incurring multiple ambience issues This can e CCI0 Ga CCI4 be carried out within the same Kontakt Player which provides a 64 A 0 high quality convolution reverb Distance CC29 early reflections As reported above all samples were recorded in an anechoic chamber This recording technique provides the cleanest sound devoid of any contamination with an arbitrary ambience However even the most directional instrument has a complex radiation pattern that contri
51. the player frequently applies the so called half valve technique By pressing the valves only about half way down the tone collapses providing a characteristic squeezed sound During this very unstable status of the instrument the player is able to perform within some limits a nearly continuous glissando In our virtual trumpet the half valve sound is automatically activated on portamenti Please note that in order to maintain realism larger portamento intervals shouldn t be played entirely with the half valve sound instead some intermediate fixed notes should be inserted This might be sometimes quite difficult to perform in realtime for that reason some keyswitches have been programmed to perform ready to use split portamento transitions Please refer to the keyswitch section for more details Vibrato An extremely important element of musical expression The vibrato of a real trumpet has a very complex anatomy which can be described as a modulation of pitch intensity and timbre Also vibrato intensity and frequency slightly vary over time Our virtual trumpet creates a realistic vibrato by reproducing these subtle variations by advanced Al Artificial Intelligence techniques Vibrato intensity is controlled by the ModWheel CC1 vibrato rate by CC19 available also on the instrument GUI Note a particular type of expressive transient vibrato can be added by pressing F1 or F 1 keyswitch see below
52. ulations and phrases as a database to build the adaptive model see below Early Reflections NEW A sophisticate ER algorithm exploits the directional information of multi microphone anechoic recordings to recover the full rich timbre of the instrument along with its radiation pattern adding a proper virtual space to the anechoic sound Virtual Soundstage NEW This new feature allows precise positioning of the instruments in a virtual space located before the listener using early reflections pre delay convoluted panning and perceived distance algorithms This will set you free of adding a further suitable acoustic environment without incurring multiple ambience issues This can be carried out within the same Kontakt Player which provides a high quality convolution reverb Realtime Timbral Shaping NEW This revolutionary new feature adds a virtually infinite timbral variety to sample based instruments by acting on the amplitude of individual harmonics or groups of harmonics even in real time This is not a graphic equalizer the controlling vertical bars are not assigned to fixed frequencies but to the first 10 harmonics of the played note As a consequence the affected frequencies vary with the pitch of the note So rising for example bar 1 will boost the fundamental frequency first harmonic of each note played yielding a rounder sound Raising bars 2 3 4 5 will increase the intensity of the corresponding harmo
53. umpet allows continuous transition across the dynamics from pp to ff free from any side effects To accomplish this a suitable continuous MIDI data sent from a physical MIDI controller such as an expression CC11 or volume CC7 pedal a breathcontroller or a windcontroller CC2 or those same CCs written into a MIDI track is absolutely necessary WITHOUT THIS CONTROLLER THE INSTRUMENT WILL NOT WORK displaying a warning Other physical MIDI controllers like sliders knobs or modwheel though not recommended can be used for this purpose Please refer to the Remapping section of this manual for further details Tip Logic users deactivating the Trumpet track during playback may reduce the CPU load and greatly improve the overall performance Tip Some users might experience hanging notes upon stopping the playback This is due to the fact that Sonar sends an All Notes Off command when the Stop button is pressed The problem can be easily solved by checking the box Accept all notes off all sounds off under Instrument Options gt Controller as shown below Instrument Options Instrument MIDI Controller 64 Sustain Pedal acts as Voice Handling Accept all notes off x all sounds off DFO Accept standard controllers for volume and Fan Controller Midi Controller 7 CYolume range Snapshots Infos Introduction The Trumpet is one of the most versatile dynamic flexible and expressive musical i
54. vidual harmonics which can be accomplished in real time CC remapping 3 Wind Controller Breath Controller Portamento Time Transpose Micratuning Shaping the timbre using the Harmonics Bars Timbral Shaping allows modifications of the timbre of the instrument by acting on the first 10 harmonics of each note It can be accessed via the drop down menu Going to Menu gt Timbral Shaping displays ten bars which can be dragged with the mouse between 6 dB and 6 dB This is not a graphic equalizer the bars are not assigned to fixed frequencies but to the first 10 harmonics of the played note As a consequence their frequencies vary with the pitch of the note So raising for example bar 1 will boost the fundamental frequency first harmonic of each note played Lowering bar 3 will decrease the intensity of the third harmonics etc For example this bar setting yields the following 4 slight reduction 1 5 dB of the level of the fundamental frequency 1 harmonic boost of the 3 harmonic 3 5 dB i a a slight boost of the 5 harmonic 2 dB Preset 1 eee Harmonics separation and grouping Setting a single bar corresponding to the desired harmonic number from 1 to 10 to any value different from zero while leaving the adjacent bar s set to zero will enable individual control of that harmonic by the height of the bar and by CC91 See the examples below 26 Second harmonic increased 2 dB and controlled by
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