French Horn & Tuba - Manual
Contents
1. Controller see below This corresponds to the default setting Instrument Options Instrument HIDI Controller 64 Sustain Pedal acts as DFO Accept all notes off all sounds off Controller Accept standard controllers f r Volume and Fan Infos Midi Controller 7 Yaolurne range 18 Playing Techniques Despite its structural complexity these instruments are very intuitive and easy to play The French Horn and Tuba do 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 with 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 French Horn are in the range AO G4 C 1 to CO are reserved for the performance keyswitches Active notes of the Tuba are in the range CO F3 C 2 to C 1 are reserved for the perfor2. Multi j 9 35 239 49 d9 fe Rack Unison Horns 01 16 17 32 33 48 49 64 French Horn 1 4 gt is ry Tune Output st 1 it Voices O Mas 32 Purge 0 00 Midi Ch omni Memory 35 88 MB awi J O AUX N French Horn 2 for Unison Ensemble 4 gt P re Tune 77 ee Voices O Max 32 Purge 0 03 69 Midi Ch omni Memory 35 55 MB wen French Horn 3 for Unison Ensemble 4 gt n e Tune 7 Output st 1 a tt Voices O Mas 32 Purge v 0 03 AUX Midi Ch omni Memory 35 88 MB san IM BB g S g French Horn 4 for Unison Ensemble 4 gt g rey Tune h BER Output st 1 v iy Voices O Max 32 Purge 0 02 6 Midi Ch omni Memory 35 88 MB F The convolution reverb can be accessed in the Output section of the Kontakt Kontakt Player BC and WC are versions ready to play with a Breath or Wind Controller Note 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 Q 22 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 pi
3. dynamic range Tuba can be played with a huge Straight Mute Muting the Tuba however is not very common 7 Our virtual instruments use sophisticated technologies to capture the fingerprints of each mute which were ultimately coded into a suitable impulse response 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 14 The Graphical Interface A FA Jo LOVER WARNING CCT not received yet The instrument will not work properly Keyboard Mode PETER SIEDLACZEK amp GIORGIO TOMMASINI Main view 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 7 Bene 74 a ZOF PL Keyboard Mode PETER SIEDLACZEK GIORGIO TOMMASINI Main views 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 You may choose among several options Plain view vel curue Controllers 1 Realtime soundshaping Controllers 2 Growl effects and Early Reflections Controllers 3 Pitch and Time related CEs Mutes Mutes CC remapping 1 Realtime soundshaping CC remapping 2 Growl effects and Early Reflections CC
4. instruments can be also loaded and played in the full version of Kontakt 4 2 Please note however that they cannot be opened or modified and no access to the samples impulse responses or instrument programming is provided Kontakt 5 Users of Kontakt 5 either the Player or the full Sampler can safely load and play French Horn amp Tuba Installation Please read carefully and follow the instructions found in the separate Installation Guide Note If the full Kontakt 4 2 Sampler or the Kontakt 4 2 Player is already installed on your system no Player installation is needed Earlier Kontakt versions cannot be used O Note In case your computer has no internet connection and the offline activation is required or in case you need any assistance while installing activating or using the instruments please contact the Native Instruments support O http www native instruments com support info Note All the MIDI note names we use refer to C3 as the middle C This means C3 is the MIDI note number 60 System requirements Operating systems PC Windows 7 Vista or XP 32 or 64 bit Mac Intel only Mac OS 10 5 10 6 or 10 7 Computer The French Horn amp Tuba like the other Samplemodeling instruments The Trumpet the Trombone and the Sax family 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
5. 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 represent a real problem though Using the freeze feature or bouncing the single MIDI tracks to audio is a useful remedy o 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 recommended to use a separate instance of Kontakt for each instrument 0 Audio Interface sound card A good quality audio hardware with suitable low latency drivers ASIO for the PC is required Buffer size should be kept to 256 recommended or 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 C 2 to C5 with pitchwheel modwheel and an expression pedal or breath controller constitutes the minimum requirements for real time playing Six octave keyboards with several physical MIDI controllers including expression and sustain pedals or a Windcontroller are recommended for full exploitation of the expressivene
6. notes Legato means bound together legato notes are not separated but rather connected to the previous note by some form of transition The transition 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 instrument this can be achieved by skilled control of the lip tension and or by changing the tube length by the valves To get a legato or portamento with our virtual French Horn and Tuba 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 50 to 90 Lower velocities lead to a more slide 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
7. our velocity remapping tool Please refer to the Menu description above to learn more how to apply it Half valve sound This applies to the Tuba and at least partially to the French Horn To perform legato portamento on a Tuba 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 A kind of half valve technique albeit somewhat more difficult may also be performed on the French Horn During this very unstable status of the instrument the player is able to perform within some limits a nearly continuous glissando In our virtual instruments the half valve sound is automatically activated if low velocity is applied 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 in the 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 brass instrument 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 inst
8. remapping 3 Pitch and Time related CCs Mutes Wind controller Breath controller Portamento time Transpose Microtuning Velocity Curve Mapping It is well known that midi keyboards have different and uneven velocity response and this may heavily influence the 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 Main view If Vel curve is selected in the drop down menu the velocity mapping GUI will be displayed a aa _ ON PETER SIEDLACZEK GIORGIO TOMMASINI Mapping Calibration Vel curue As a default velocity mapping is disabled Velocity mapping is activated by clicking on the Mapping button until it turns yellow Mapping Now the relationship between in X axis and out Y axis velocity 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 velocity response you need To compensate for a nonlinear behaviour of your keyboard an automatic calibration procedure is provided Just click on Calibration and the GUI will appear like this Now what you have to do is to hit any key at random velocity trying to cover the whole velocity range Each new output velocity wil
9. French Horn amp Tuba User Manual v 1 03 VIRTUAL INSTRUMENT NE Table of Contents Before you start Kontakt 4 Installation Online Activation Support MIDI note starndard System requirements CPU load MOST IMPORTANT Introduction The Instruments The Mutes The Graphical Interface GUI Velocity Curve Remapping Controller Knobs The Controllers and their function Volume control by CC7 The Mutes CC remapping Wind Controller Mode Breath Controller Mode Portamento Time Transpose Microtuning Playing Techniques French Horn ensemble The Performance Keyswitches Technical Support Updates UTA BR WW W W LJ On 22 23 25 25 Before you start Before installing French Horn amp Tuba please read carefully the items below Kontakt 4 Player The French Horn amp Tuba is supplied with the NI Kontakt Player 4 2 the read only version of Native Instruments flagship sampler It involves many new features and bug fixes including 64 bit extended memory and multicore support DFD optimisation better compliance with some OS and hosts aftertouch support etc The Player is included as a separate installer and no additional software is required to play the instrument Stand alone mode as well as plugin formats VST DXi RTAS and AU are supported For further details please refer to the Kontakt Player Manual Kontakt 4 Sampler The
10. accomplished by modulating the airflow while playing a note the player flutters his tongue making the typical Frrrrr sound similar to pronouncing a rolling R The buzz mimics the characteristic dirty watery sound of the French Horn The French Horn uses three controllers to obtain growling frullato and buzz effects CC21 CC23 and CC30 The Tuba does not use the 21 buzz and uses only CC21 and CC23 for growl and flutter tongue respectively These effects can be used separately or even mixed in different proportions French Horn ensemble The package includes four French Horns which slightly differ in timbre dynamic response natural pitch drift early reflections pattern etc Special consideration has been given to creation of realistic ensembles from solo instruments whether driven form 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 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 four specially devised French Horns suitable for unison playing from a single MIDI source along with an appropriate ambience convolution reverb is included in the package
11. and the overall amount of la ol detuning can be fit to each preset by acting on the Key button and the Amount knob respectively LZ e Amount F 100 y Preset 1 Microtuning 17 In addition selective detuning can be applied to individual notes in realtime by using third level keyswitches similar to those used for split portamenti falls and doits In this case all notes are preset detuned by a predetermined amount 50 cents which may be however modified by the user Ob E Eb E F Gb G Ab A Bb B Key L Amount fo P 100 Preset 2 Micratuning Directly using such a preset wouldn t make sense however since all notes would be detuned the same way Since the player wishes only certain notes to be detuned he simply needs to keep pressed the sustain pedal CC 64 while pressing the keys he wants to detune in the keyswitch range C 1 to CO for the French Horn C 2 to C 1 for the Tuba For example pressing the sustain pedal plus D 1 F 1 and A 1 detunes all D F A notes by the preset amount The currently detuned notes are now displayed in the GUI as shown below Key L i Amount e o 100 Preset 2 Microtuning Each time one presses the sustain pedal the detuning of all notes will be reset allowing a new set of notes to be detuned Note Using the sustain pedal for this purpose requires that the CC only option is enabled under Instrument Options gt
12. as CC11 modwheel C1 and pitchbend which must be provided by your keyboard or sequencer Dynamics O CC Attack Mod Time Early Reflections Transition Flutter CC22 v B4 Portamento Time ise Tu Vibrato Intensity A CCl 0 Release Time Controllers 1 Flutter Tongue Predelay Controllers 2 Dynamics to Pitch CC24 Mute None CC100 E Vibrato Rate CC19 e 93 Random Detune Controllers 3 The three Controllers GuUls show each MIDI controlled function the associated CC number and its current value Each knob is bidirectionally mapped to its CC This means that you may set each CC by n moving the 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 v 10 The Controllers and their function PB pitchbend not shown in the GUI linearly mapped to one semitone As in the real instrument natural flutter and phase cancellation effects are produced by PB changes CC11 expression Controls continuous transition across the dynamics from ppp to fff 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 CC1 modwheel natural pitch modulation vibrato shake intensity CC1 values betw
13. complex radiation pattern that contributes to the richness of the sound To reproduce this effect an early reflection ER impulse response has been developed adding some virtual space to the anechoic sound Each instrument is supplied with an individualized ER yielding a different timbre and phase response The intensity of the ER can be controlled with CC29 11 CC31 predelay The interval from the dry sound and the first early reflections affecting the perceived distance of the instrument from the listener Can be controlled by CC31 Q Note putting CC29 to zero sets the early reflection convolution in a bypass mode leading to a decreased CPU load This setting is however generally best avoided since it spoils the sound and the spatialisation of the instrument In any case it may only be used in conjunction with an external reverberation unit including a suitable ER algorithm CC22 on transition flutter intensity Bursts of medium high frequency flutter are automatically generated on attacks and transitions reproducing the behaviour of the real instrument CC22 controls the overall intensity of this flutter The recommended range is 55 to 75 Default 64 CC24 dynamics to pitch modulation In the real instrument the current pitch is affected by transient changes of the dynamics French Horn amp Tuba exactly reproduce this behaviour The intensity of this pitch response can be varied with CC24 to better cope with diffe
14. currently played note Other KS G 1 A 1 provide articulations which are activated upon the release of the note G 1 G 2 and A 1 A 2 enable longer and shorter vibrato like release respectively Since the intensity via KS velocity and duration acting on CC26 while pressing the KS are entirely under user 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 using two or more overlapping notes Typical 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 Glissandi Rips Also glissandi can be directly played on your keyboard or wind controller or programmed directly in the sequencer Glissando is a very typical horn articulation because it sounds good due to the de
15. e Controllers 1 Realtime soundshaping By clicking on Use Breathcontroller button Controllers 2 Growl effects and Early Reflections Controllers 3 Pitch and Tirme related CCs Mutes Mutes CC remapping 1 Realtime soundshaping You will activate the breath controller mode CC remapping 2 Growl effects and Early Reflections CC remapping 3 Pitch and Time related CC Mutes Wind controller Breath controller The selected mode will appear on the main view GUI Fortamento time BC Mode Transpose Moin view T Micratuning BC mode automatically maps the Dynamics to CC2 15 In addition it s now the BC which triggers note on amp off when overcoming or going 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 Portamento Time This option opens the Portamento Time panel Main uien el curue Controllers 1 Realtime soundshaping Controllers 2 Growl effects and Early Reflections Controllers 3 Pitch and Tirme related CEs M
16. een 0 and 30 introduce increasing natural pitch modulation Vibrato enters and its intensity increases linearly for CC1 values between 30 and 96 Above 96 vibrato converts into a full step shake The shake intensity linearly increases with CC1 CC19 vibrato rate The frequency range is approximately 2 5 8 Hz Default 90 CC26 default note on attack duration Controls the duration of the crescendo effect which makes the sound of the French Horn so characteristic Default 64 CC27 default note off release duration Default 30 o Note CC26 and CC27 also allow to modify the relative duration of each keyswitch See Performance Keyswitches below CC21 growl intensity Medium high frequency flutter may be added by directly acting on this controller to produce a growly sound Default 0 CC23 frullato intensity Flutter tongue like effects may be added by directly acting on this controller Default 0 CC30 buzz intensity French Horn only High frequency flutter may be added by directly acting on this controller to produce a more aggressive buzzy dirty sound Default 0 Tip Different types of frullato can be obtained by adding CC21 to CC23 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
17. em including computer OS audiocard Sampler and sequencer and their settings A midi file showing the problem is usually the best approach to debugging Technology related questions exchange of experiences tips amp tricks examples demos mp3 can be posted in our forum http www samplemodeling com forum by registered customers For Updates of the French Horn amp Tuba please check the UPDATE tab within the Service Center the utility belonging to the Kontakt software Refer to the Kontakt Manual for more details modeling Copyright 2010 Giorgio Tommasini amp Peter Siedlaczek All rights reserved First printing 2012 This guide is written by Giorgio Tommasini and Peter Siedlaczek 25
18. he 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 Note CO pressed along with another KS such as C 1 to A 1 will activate non default different types of split portamento and falls 24 CO C 1 chromatic split portamento CO C 1 rip or split gliss in forte CO D 1 half valve gliss CO D 1 rip or split gliss in forte II CO E 1 diminished split portamento CO F 1 mixed mode gliss CO F 1 doit or upward fall CO G 1 half valve doit CO G 1 chromatic long fall CO A 1 chromatic fall CO A 1 half valve fall Technical Support All questions related to the installation and activation of the French Horn amp Tuba or those pertinent to the Kontakt sampler player or the host sequencer DAW etc should be addressed first to Native Instruments support http www native instruments com support info Specific questions on how to use the instruments the controllers the keyswitches or related to some apparent malfunction of the instrument should be emailed to Samplemodeling info samplemodeling com or via the contact page in our website http www samplemodeling com en contact php providing as much information as possible on the syst
19. he orchestral sound frequently doubling the bass lines but also serves as the bass in the brass section or brass band as well as a solo instrument playing all possible musical styles Like the other Kontakt based Samplemodeling instruments French Horn amp Tuba use Giorgio Tommasinis 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 Furthermore it uses recorded samples of real instruments 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 All sounds were recorded in an anechoic chamber Why anechoic The purpose of anechoic recording was threefold 1 avoid contamination of the pure French Horn or Tuba sounds with the uncontrolled resonances of a particular ambience 2 allow artefact free harmonic alignment processing 3 provide clean articulations and phrases as a database to build the adaptive model see below Early Reflections To recover the full rich timbre of the instrument including its radiation pattern we developed specific early reflections impulse responses adding virtual space to the anechoic sound The intensity of this effect can vary from
20. l appear as a new bar in the ower panel The overall velocity curve output of your keyboard will progressively be updated in the upper panel Yel curve The response of a nonlinear keyboard After you re finished with the automatic mapping procedure i e when you notice that no new velocity bar appears anymore disable Calibration TT ky Sr oc ane aie ha compensation for nonlinearity of note on velocities will be carried out if Mapping is active i e yellow You may also correct the compensated curve with your mouse Please note that all changes will be maintained upon storing and reloading the instrument Mapping FEdibration ooo Yen F Controller Knobs Main view Vel curue Controllers 2 Controllers 3 Growl effect and Early Reflections Fitch and Time related CCs Mute All the controllers needed for proper functioning of the instrument are mapped to virtual knobs in three 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 French Horn amp Tuba Please note that for realistic and expressive playing the controller knobs cannot substitute the essential controllers such
21. mance keyswitches 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 allows the player to shape virtually any attack from a slow crescendo low key velocity to a fast crescendo medium velocity attack to a sharp high velocity sforzato effect One can also vary the overall duration of the attack its pitch modulation and the intensity of the associated natural flutter by acting on CC26 CC24 and CC22 respectively Further modulation of the attacks can be obtained by using the note on keyswitches which need to be pressed beforehand C 1 C 2 for the Tuba yields a sforzato effect whereas C 1 and D 1 C 2 amp D 2 for the tuba yield two different types of crescendo 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 19 A natural release curve is performed on note off The duration of the default release can be varied with CC27 The default setting of 30 corresponds to a rather short decay Please refer to the Controllers section above for more details Legato Portamento
22. nse very close overtone partials closer than on other brass instruments Perhaps the most common glissando is the rip It is a powerful gliss sliding up to the target note which is usually accentuated To get this effect use high velocity and dynamics CC11 as well as higher flutter settings CC22 Avoid playing too many intermediate notes partials to get the best results Realistic rips can also be obtained by using second levels keyswitches Try for example CO C 1 and CO D 1 Falls Falls are descending glissandos going to nowhere i e they just fade out and do not stop on a particular note If performed using only half valve sounds which are 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 and more conveniently the same effect will be obtained by using dedicated keyswitches For more details please refer to the Performance Keyswitches below Growl Flutter tongue and Buzz 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
23. off Oe Tip note on on the fly and note off KS may be simultaneously activated for multiple modulations For example by holding down C 1 and A 1 one can obtain an accented pattern with vibrato like endings on each next staccato note vev Note CC26 also allows to modify the relative duration of each note on and on the fly v 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 Non modulating keyswitches A 1 Wah wah effect Not used hence inactive in the French Horn and Tuba B 1 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 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 while the fall is still sounding C0 Automated split portamento This KS modifies the normal portamento pattern into a split portamento based on the harmonic series very typical for Brass instruments This obviates t
24. ollers generally reflect the current CC2 value portamento time becomes a function of the current Dynamics This might be 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 anyway set CC5 to a suitable value by directly acting with the mouse on the appropriate knob in the Controllers 1 panel A mixed mode behaviour is also possible partially linking the duration of portamento to both dynamics velocity and CC5 geneity C Gers allowing even greater flexibility and expressiveness I 70 3 Portormento Time controlled by Portamento tinte Dees A pitch sensitivity knob is provided to compensate differences a among different brands For example the Pitchbend output of the Yamaha WC is smaller and cannot easily cover the standard two semitone range 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 miri Or 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 curu
25. ontrollers to any CC Dynamics CCH Vibrate Intensity CCH vibrato Rate LC Attack Mod Tine CCH Release Time CCH CC remapping 1 Growl CCH Flutter Tongue CCH Buzz CCH Early Reflections CCH Fredelay CCH Transition Flutter CCH Dynamics to Pitch CCH Rondon Detune CEH Fortamento Time CCH Mute CCH 100 CC remapping 3 Note CC128 Pitchbend cannot be remapped nor used to control other parameters If one tries to do so the remapper will automatically switch to CC129 Wind controller Mode This option opens the Wind Controller panel Main view vel curue Controllers 1 Peaitime soundshaving By clicking on Use Windcontroller button Controllers 2 Growl effects and Early Reflections Controllers 3 Fitch and Time related CEs Mutes Mutes CC remapping 1 Realtime soundshaping J 4 Jinde T ntr alle you will activate the universal Windcontroller mode CC remapping 2 Growl effects and Early Reflections CC remapping 3 Pitch ond Time related COs Mutes Wind controler The selected mode will appear on the main view GUI Breath controller WC Mode Fortamento time Moin view Transpose WC mode automatically maps the Dynamics to CC2 and gives complete 100 control of Portamento Time see Microtuning below to CC5 14 In Keyboard mode the duration of portamento is determined by the velocity of the overlapped note Since note on velocities output by Windcontr
26. onvenient way of transposing the Breitt controller incoming midi flow in order to cope with the mapping EEE tein of the instrument For example the Tuba is mapped Transpose from CO to F3 The Keyswitches are consequently Mictetuning mapped to C 2 C 1 Even if you are using a seven octave keyboard transposing the midi flow two octaves down is the only way to make this instrument playable 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 Microtuning Main uiew This option opens the Microtuning panel vel curue Controllers 1 Realtime soundshaping This is an entirely new feature coping with the Controllers 2 Growl effects and Early Reflections req uirements of musicians using non temperate scales Controllers 3 Pitch and Time related COs Mutes Mutes Our approach to microtuning yields maximal flexibility CC remapping 1 Realtime soundshaping allowing user defined scales where the extent of CC remapping 2 Growl effects and Early Reflections detuning range 60 60 cents can be precisely set for CC remapping 3 Pitch and Time related CEs Mutes each note by means of a sliding bar The scale can be Wind controller saved and recalled as a preset Breath controller Portamento time The reference note
27. rent 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 CCHS how the duration of portamento is currently controlled D Default is 100 by velocity as already stated By acting on the knobs you may set the relative weight of velocity vs CC5 for controlling portamento time Portamento tinte 12 CC100 MIDI loadable mutes and special resonance effects Loaded mutes and effects are for the French Horn None default for CC100 between O and 21 Brass Stop Mute 22 42 Straight Mute 43 63 Bell resonance 1 64 85 Bell resonance 2 86 106 Bell Resonance 3 107 127 For the Tuba None default for CC100 between 0 and 63 Straight Mute 64 127 CC129 not shown in the GUI Channel Aftertouch extra growl to the initial part of Volume control by CC7 Instrument Options Instrument MIDI Controller 64 I DFO u Accept all notes off Controller Tip The aftertouch is particularly suitable for controlling Growl or Flutter Tongue or Buzz The slightly increased pressure associated with a keystroke may add some the note yielding very realistic effects 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 Accep
28. rent 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 instrument 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 KR Tip Higher settings of CC24 may also allow BC players to perform a realistic vibrato e7 by simply modulating the air flow CC28 random detune Real playing is almost invariably characterized by slight pitch fluctuations and the average pitch often departs from the temperate scale The latter phenomenon is also likely to affect more the initial part of the note before the feedback leads the player to compensate This behaviour is reproduced with the French Horn amp Tuba according to a pseudo random model The intensity of this effect can be controlled with CC28 Zero means no detuning Default setting is 64 CC5 portamento time By default the duration of Ereath controller portamento is controlled by the velocity of the overlapped note Under some circumstances it may be Tranzpase 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 cur
29. ruments create a realistic vibrato by reproducing these subtle variations by advanced Al techniques Vibrato intensity is controlled by the ModWheel CC1 vibrato rate by CC19 available also on the instrument GUI Please note that playing a vibrato on the French Horns is much less common than on the other brass instruments It appears much more sparingly usually on long notes or at the end of medium or longer notes as a very subtle shallow end vibrato U Note a particular type of expressive transient vibrato can be added by pressing D 1 WW D 2 for the Tuba on the fly keyswitch 20 Fading Vibrato amp Vibrato like endings If one analyses a phrase of a real brass instrument he will notice that many notes 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 Keyswitch E 1 E 2 for the Tuba triggers a characteristic transient shallow vibrato F 1 F 2 provides a most typical expressive end vibrato F 1 F 2 triggers a very expressive short end vibrato G 1 G 2 triggers a transient brief swell which may be performed immediately before a legato articulation to impart a kind of accent KS E 1 G 1 are of the on the fly type which immediately affects the
30. se 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 French Horn amp Tuba needs some practice and experience You will certainly learn it very quickly The demonstrations we prepared show how realistic our instruments are If you want to learn more about how this has been achieved please visit the French Horn amp Tuba Demo page and download the demos we prepared for you as MIDI files The Mutes Mutes are devices affecting the timbre and or volume of an instrument Brass Mutes are mostly cone shaped and are inserted into the bell Depending on the shape or material metal wood plastic they may significantly vary the sound The most common mutes used for the French Horns are Straight or Wooden Straight Mute which is a cone shaped hollow mute providing more metallic and nasal sound It is available for all the brass instruments Stop Mute or Brass Stop Mute is unique for the French Horn It s a small brass bell inserted into the instrument bell completely cutting off the air flow The result is a buzzy sound which can be also achieved by the horn player tightly inserting his her hand deep into the instrument bell For special purposes some additional effects can be loaded from within the French Horn Mute menu Bell Res 1 3 This option emulates the typical metallic resonances of the horn and is most effective in the higher
31. sity 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 however be varied by holding down just the selected KS while setting CC26 for note on and on the fly KS or 27 for release KS to the desired value Note on and legato portamento keyswitches C 1 Accent Adds an accent sforzato to the next detached note s C 1 Crescendo Imparts a crescendo pattern to the next detached and legato note s D 1 Slower crescendo Similar to C 1 but slower 23 On the fly keyswitches D 1 Transient Vibrato Adds a particular type of expressive transient vibrato to the current note E 1 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 G 1 Short swell Triggers a transient fast crescendo decrescendo effect which may be performed immediately before a legato articulation imparting a special accent On release keyswitches G 1 Vibrato like release 1 Imparts a characteristic vibrato like ending release pattern to the next note off A 1 Vibrato like release 2 Imparts a characteristic richer vibrato like ending release pattern to the next note
32. ss of the instrument Sequencer If real time playing is not contemplated you will miss a great fun though using a sequencer may obviate the need for several physical MIDI controllers while maintaining full control of the instrument expressiveness The French Horn amp Tuba has been thoroughly tested on several sequencers including Cubase Ableton Live Digital Performer Logic and Sonar 4 Supported Plugin Formats PC VST or RTAS 32 or 64 bit Mac AU or VST 32 or 64 bit For more details please refer to Kontakt 4 2 or 5 Specifications on the Native Instruments site O O MOST IMPORTANT Like a real instrument and differently from conventional sample libraries French Horn amp Tuba allows continuous transition across the dynamics from ppp to fff free from any side effects To accomplish this a suitable continuous physical MIDI controller such as an expression CC11 or volume CC7 pedal a breath or a windcontroller CC2 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 French Horn amp Tuba track my reduce the CPU load and greatly improve the overall performance Tip Sonar users might experience hanging notes upon
33. 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 2 MID Controller 64 Sustain Pedal acts as DFO Accept all notes off all sounds off Controller Accept standard controllers for Yolurne and Fan Infos Midi Controller 7 Yolurne range Introduction The French Horn is an exceptionally versatile dynamic flexible and expressive musical instruments used in a vast majority of musical styles It covers an incredibly wide dynamic range With its rich warm sound it is a perfect blender if used in combination with other instruments With its full bright fortissimo it is an indispensable instrument in any spectacular Hollywood like orchestration The real French Horn is extremely difficult to play requiring advanced skills and intensive practicing It is also extremely difficult to emulate a true challenge for developers of virtual instruments That s why we chose it next We believe the results are outstanding And unlike the real one our virtual French Horn is very easy to play Tuba the biggest brass instrument covers the lowest range of the musical scale and is really not limited to comedic work at all It contributes remarkably to the fullness of t
34. t standard controllers for Volume and Pan under Instrument Options gt Controller as shown below Sustain Pedal acts as CC only all sounds off Accept standard controllers for Yolurne and Fan Info Midi Controller 7 CV The Mutes irren Selected Mute Wel curue Mone Controllers 1 Hane Controllers 2 Brass Stop Controllers 3 Straight Mutes Bell Res CC remapping 1 Bell Res z Bell Ber olume range The mutes are selected on the drop down menu from the upper button With the French Horn you may choose among Brass Stop and Straight In addition to the conventional mutes you may also select Bell res 1 3 to add the typical metallic resonances of this instrument A Straight mute is available for the Tuba 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 Note French Horn and Tuba do and A 2 are therefore disabled not use the wah wah effect The Key Switches A 1 13 CC Remapping Three different CC remapping panels allow remapping of all c
35. tchbend and modwheel For example accent crescendo slower crescendo 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 specific tasks such as activating automated split portamento and triggering a default fall The reserved keyswitch range is C 1 CO French Horn or C 2 C 1 Tuba Keyswitch Assignment Three types of modulating KS are available 1 Note on KS C 1 D 1 C 2 D 2 for the Tuba When held down these KS will affect the next detached note s 2 On the fly KS D 1 G 1 D 2 G 2 They immediately affect the currently played note adding some characteristic modulation patterns 3 Note off KS G 1 A 1 G 2 A 2 They affect the release of the current note s Three types of non modulating KS are also available 1 Activation of second level KS CO plus C 1 to B 1 C 1 plus C 2 to B 2 for the Tuba 2 Activation of an automated split portamento based on the harmonic series CO C 1 for the Tuba 3 Default fall B 1 B 2 for the Tuba 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 inten
36. utes Mutes CC remapping 1 Realtime soundshaping Portamento Time controlled by SE m a 100 Oo CC remapping 2 Growl effects and Early Reflections CC remapping 3 Pitch ond Time related CC Mutes In Keyboard default mode the duration of portamento En is determined by the velocity of the overlapped note Portamentotime While this represents a very convenient approach to Transas portamento control there might be cases where linking portamento time to a separate controller such as CC5 would be preferable By setting the right knob to 100 the duration of portamento could be linked to any physical controller mapped to CC5 Wind controller Microtuning A mixed mode behaviour is also possible partially linking 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 Portamento tine 16 Transpose This option opens the Transpose panel Main view vel curue Controllers 1 Realtime soundshaping Controllers 2 Growl effects and Early Reflections Controllers 3 Fitch and Tirne related CCs Mutes Mutes Transpose CC remapping 1 Realtime soundshaping Transpose CC remapping Growl effects and Early Reflections CC remapping 3 Fitch and Time related CCs Mutes Wind controller This is the most c
37. zero pure anechoic sound to slightly roomy and is completely under user s control What we finally obtained is a pure lively homogeneous timbre without coloration far from the dead sound that some might expect The Instruments The French Horn amp Tuba package includes several instruments Solo Horn French Horn recommended for any application as a solo instrument It has a well balanced timbre and a neutral early reflection pattern French Horns 2 3 and 4 which not only sound slightly different but use also a slightly different response to the incoming controllers These instruments are recommended for ensembles using separate MIDI tracks Four additional French Horns labelled for Unison Ensemble specially devised for obtaining a realistic unison ensemble effect even when driven from one MIDI track A ready to use Unison Horns Multi including these four specially devised instruments properly levelled and panned plus a suitable ambience convolution reverb This setup exploits a specially devised ensemble maker algorithm allowing realistic unison playing even when using the same MIDI source for all the instruments All the Horns cover the range AO G4 a Tuba covering the range of the whole tuba family from Contrabass Tuba to F Tuba i e from CO to F3 All these instruments are now at your fingertips You can really PLAY them shaping the sound like a real player does But plea
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