the User Manual
Contents
1. The CineStrings Core Library is Cinesamples orchestral string sample library for Kontakt Recorded at the world famous SONY Pictures Scoring Stage in Los Angeles and mixed by veteran legend Dennis Sands The CineStrings Core Library covers the essentials of the orchestral string section and functions as a foundation in any scoring palette CineStrings is revolutionary in its power and simplicity for recreating the sound of the orchestral string section The library was designed by composers for composers with direct feedback from the film music community during its development The result is a string library that is easy to use composer friendly with unparalleled recording quality CineStrings library does not require you to purchase any additional sample playback software and is licensed to work with the Native Instrument s free Kontakt Player All you need is a sequencer like Logic Cubase Digital Performer LIVE Protools Cakewalk or even Apple GarageBand and you ll be up and running You can also use CineStrings with your favorite notation software such as Sibelius or Finale DENNIS SANDS Keeping the trend we started with CineBrass CineWinds and CinePerc we were able to bring Dennis in to once again lend his legendary talent to this project Dennis is one of the most sought after mixers in Hollywood His credit list is a sight to behold Back to the Future The Avengers Captain 4 America Shawshank Redemption Ameri2. 06 Violins 2 True Legato 07 Violins 2 Pizzicato and Col Legno 08 Violins 2 Harmonics 09 Violas Articulations 10 Violas True Legato 11 Violas Pizzicato and Col Legno 12 Violas Harmonics 13 Cellos Articulations 14 Cellos True Legato 15 Cellos Pizzicato and Col Legno 16 Cellos Harmonics 17 Basses Articulations 18 Basses True Legato 19 Basses Pizzicato and Col Legno 20 Basses Harmonics 21 Full Ensemble Articulations Full Mix 22 Full Ensemble Articulations Multi Mic 23 Full Ensemble Sustains Full Mix 24 Full Ensemble Sustains Multi Mic Multi Patches 01 Violins Octaves Articulations 02 Violins Octaves True Legato 03 Violins Violas Octaves Articulations 04 Violins Violas Octaves True Legato 05 Violins Violas Celli Octaves Articulations 06 Violins Violas Celli Octaves True Legato 07 Cellos Basses Octaves Articulations 08 Cellos Basses Octaves True Legato 09 Violins Violas Unison Articulations 10 Violins Violas Unison True Legato 11 Violas Cellos Unison Articulations 12 Violas Cellos Unison True Legato 13 Cellos Basses Unison Articulations 14 Cellos Basses Unison True Legato 15 Full Unison Articulations 16 Full Unison True Legato 25 Full Ensemble Pizzicato and Col Legno Full Mix 26 Full Ensemble Pizzicato and Col Legno Multi Mic 27 Full Ensemble Harmonics Full Mix 28 Full Ensemble Harmonics Multi Mic Note When loading these patches for the first
3. samples to prevent the noise floor building up to crazy amounts when playing chords so this is a way to get a normal amount of that natural sound back into your mockups Next to that we have also 13 Cellos Articulations gt p provided multiple effects on sae eon ee the right side of the page for GRIND PP aEN TOR your convenience LowPass filter Delay Stereo Imaging Chorus Flanger Distortion and Compression When using these built in Kontakt effects keep in mind that they can be very heavy on your CPU The SETTINGS Tab Advanced Controls Beneath the Legato Speed Knob there are two parameters labeled Advanced Controls The first allows you to set which continuous controller you d like to use to switch between normally bowed tremolo and sul ponticello tremolo when playing the tremolo articulation The second parameter sets which controller you d like to use to switch between half step and whole step trills when triggering the trill articulations By default these are set to CC 2 the same controller as vibrato Under that you ll see the Hairpin Creator This setting allows for you to automatically get very natural swells without having to program a series of controller changes To enable the feature turn the top left switch above the Loop button to the ON position Note that the hairpin creator only works with legato mode OFF it will automatically turn off legato mode when enabled The Start Hold and End knob
4. all at once if you are trying to activate it In other words if you play and hold a C then play a G a beat later the legato script will think you are moving from C to G If you play C and G at the same time the script will know you are writing in two voices If you need independent line control we recommend moving to mono mode and duplicating the patch in Kontakt and your track in your DAW This causes little to no memory increase since the sample data is shared between the two You just don t want to trigger the same note and the same dynamic with both tracks or it will cause phasing Legato OFF Trigger There is a hidden keyswitch built into the articulations patches on the lowest B on an 88 key keyboard b 1 This momentarily disables the legato transitions to make the library only play the regular sustains You may want to do this to add more dimension to the attacks when doing rocking motion in the strings or if just for one section if you like the way the normal attack sounds instead of the legato transition but you still want the notes to overlap Since it is a non latching keyswitch in order to use it to temporarily deactivate the legato transitions you need to have the keyswitch held down as you play The effects of the keyswitch will continue to last until you leave a space in your playing for it to reset If you let go of the keyswitch while sustaining and then continue to play overlapping notes they will NOT utilize legato samples I
5. recommend having SSDs run these samples You will need exactly 44 8GB PC or 48 25 GB MAC of free space INSTRUMENTATION e 16 1st Violins e 12 2nd Violins e 10 Violas e 10 Celli e 7 Basses CineStrings was performed by some of Hollywood s finest string players These phenomenal musicians have played countless times on the very same Sony Scoring Stage this library was recorded Between them they have worked with the majority of modern big name film Composers We saved the Strings for last in our Cine orchestral series because they are by far the most difficult section to recreate with samples realistically By saving them for last we were able to bring all of our experience from the previous Cine Libraries to the table and really use our studio time effectively Between the world class players and our sharply honed sample recording techniques we think the end result is something really special Now with CineStrings release you use all of our libraries to create the full orchestra with unparalleled blending of samples With our entire orchestral collection you can recreate the exact sound heard on some of your favorite scores because you re triggering world class Hollywood players in the same room recorded by the same engineer THE PATCHES Single Patches 01 Violins 1 Articulations 02 Violins 1 True Legato 03 Violins 1 Pizzicato and Col Legno 04 Violins 1 Harmonics 05 Violins 2 Articulations
6. time they may load slowly as the wav cache builds On subsequent attempts they should load much more quickly Articulation Patches Our basic Articulations Patch includes Spiccato Staccato Legato Sustains with 3 vibrato settings Tremolos including sul pont and both half step and whole step trills True Legato Patches What is True Legato True legato means that we sampled all of the intervalic leaps throughout the ranges both upwards and downwards for each string section When you play a True Legato patch it instantly analyses the intervals you play then plays the appropriate transitional leap between the notes The result is a smooth and realistic legato performance For most of our sections we did this at 4 dynamic levels again using our dynamic morphing to blend seamlessly from pianissimo to fortissimo A key feature of our legato patch allows you to switch between Monophonic and Polyphonic Legato mode Monophonic mode allows for soli line playing while Polyphonic mode allows you to play lines of up to 3 notes simultaneously while maintaining the appropriate transition samples between all notes This is especially effective when playing chords that need to connect in a realistic way The true legato transitions that are enabled by default for the True Legato patches are the same samples that are available in the articulations patches We just have them available as one patch for your convenience Pizzicato and Col Legno
7. ADSR fade Timing For those of you who really like to have a tight sequence meaning very quantized sounding there are two things that can greatly help you in this process With all of our short articulations there is a pre roll of around 50ms before the oomph of the sound While there is plenty of bow noise and other things happening in this small window which is why we left it in this could cause a bit of delay to your programming We recommend either activating the sample start on the bottom of the Settings page and adjusting it to where it feels good for you but remember this will cut off the attack a bit or simply offsetting the midi tracks in your DAW to 50ms sound card lag ie 1024 buffer is around 24ms Regarding legato passages our script has a bit of a buffer built in to help figure out what you are trying to play in the Poly legato mode if you move to Mono mode that will help trigger things faster there is a 50ms delay in Poly mode The legato transitions when played normally i e not a fast moving line will take roughly 150ms to land on the next note when the legato speed knob is at 12 o clock 50 Turning this knob up will help speed up these transitions if you require it We recommend when using the default setting sliding back the start of your destination midi notes by 150ms to make the sample land right on the desired beat in your sequence Dynamic Range It is recommended to set CC7 defaults
8. Every knob and switch on this page is capable of being automated so feel free to draw legato speed or volume automation so that it conforms to your needs on the fly The Mono Poly switch allows you to control whether the instrument will be completely monophonic for single lines or polyphonic Our custom polyphonic legato scripting allows you to play up to three legato lines at once it will intuitively attempt to figure out your intended result and play the appropriate legato transitions between the notes You can use the On Off switch next to the Legato Speed Knob to turn the legato transitions completely off This will cause the patch to behave more traditionally playing only sustain samples and shorts so that you can play chords or combinations of notes without the legato scripting trying to figure out what you re doing and potentially causing dropped notes if it gets too complex B 1 is programmed as a momentary non latching keyswitch toggle for Legato on off Hold it down to temporarily play with the legato samples off To the right of the Legato Volume knob you ll notice the first effects slot is labeled Room Tone This is a long empty room tone sample recorded on the same day as CineStrings When enabled it will gently fade in whenever a note is played and then there will be a three second fade out after all notes have been released It does not stack if you play chords it just plays the one sample We denoised the actual string
9. Patches These patches are similar to the articulations patches but only have two articulations pizzicato including bartok style pizz where the string is snapped back onto the fretboard and col legno Harmonics Patches These patches are very straightforward just sampled string harmonic sustains Split Patches We have included every articulation Half Step Trill Sforzando Col Legno Spiccato etc as separate patches These are derived from the articulation patches and pizzicato and col legno patches They will allow you to Save memory space if you only need a Spiccato and a Sustain patch for example While this may increase your track list many composers choose to have a lot of patches loaded and switch via track instead of keyswitch or velocity MULTIS We are including a series of unison and octave Kontakt multis which have been pre set to allow for quick big patch performance without having to track split and transpose These are made from the original patch lists with some minor adjustments to the script to allow for the octave splitting The MAPPING Tab Articulations Presets All of the mapping in the Articulations Patches is dynamic so you can select from five intuitive presets in the user interface A custom mapping grid is offered for users who wish to customize the parameters beyond the presets Every parameter and value is changeable and nearly any combination is possible Of course if you choose
10. at the beginning of your tracks to 90 or so to act as an overall volume trim You can use this to set broad levels then use cc11 in combination with cc1 to help bring expression and life to your string lines From our perspective performed dynamics and actual loudness are two different things and should be controlled separately for the best results which is why there is only a moderate volume change more of a timbre change when you adjust the dynamic control CC1 by default If you are dissatisfied with the dynamic range placed on the CC1 Mod Wheel there is a backend control that can adjust wideness of the dynamic gain curve See the backend control addendum for more details on this control Room Tone Because we had to do quite a bit of noise reduction to this library we decided to add a knob in the settings page to bring back a bit of the room We recommend choosing one or two tracks in your sequence to utilize this feature preferably shorts or pizzicato patches All but the Spot and Close mics use the same looped material however the sample start points are random so if you have this on on every track you won t get phasing only noise build up The room tone lasts until the last note is played and then fades out over 3 seconds If you need to have this on more than one track we recommend keeping the room tone knob set to around 33 If you are just using one patch to add room tone to your piece setting the Knob between 50 75 will be e
11. can Beauty and includes some of our favorite scores As usual it was an honor to work with Dennis his contribution to CineStrings is the crucial ingredient that gives the library its trademark Hollywood sound THE SONY PICTURES SCORING STAGE The Sony Pictures Scoring Stage is the largest motion picture scoring venue in the world The main scoring area has remained unchanged since the 1930s to preserve its unmatched acoustics and unique ambiance It measures 93 wide by 67 long by 34 high One of the first scores recorded there was the Wizard of Oz Herbert Stothart Its success allowed the stage to become primarily dedicated to the art of the film score John Williams has used the stage on many occasions for scores such as ET Schindler s List War Horse and The Adventures of Tin Tin Other scores recently recorded there include Toy Story 3 Randy Newman Spider Man Danny Elfman Alice in Wonderland Danny Elfman Transformers Dark of the Moon Steve Jablonsky Wall E Thomas Newman The Amazing Spider Man James Horner and Star Trek Michael Giacchino OVERVIEW The CineStrings CORE library contains the basic set of articulations needed to do most of the traditional writing and programming for the string section Non vibrato vibrato and espressivo sustains with smooth dynamic morphing across five dynamics and across each vibrato position Natural legatos with smooth dynamic morphing across f
12. cs Controller 3 will let you choose which shorts are triggered For the Pizzicato and Col Legno patches we have included similar mapping presets but adjusted slightly to make sense for only two articulations For the Pizzicato articulation if you trigger the very highest dynamic range you will get the bartok pizzicato technique which involves snapping the strings very hard so the string slaps back onto the fretboard Note If you decide to use keyswitches you are provided with a latching or non latching option When a latching keyswitch is pressed you will be stuck in that articulation until a different keyswitch is triggered or another parameter takes you to another articulation If you choose non latching the keyswitch will need to be held down continuously in order to trigger that articulation The MAPPING Tab Advanced Controls You can adjust any of the presets should you desire and the Custom Map button provides you with a blank set of assignments if you want to build your own In the top right box you ll see options for Sustain Dynamics Choose how the dynamics of the sustain samples will be controlled with a controller or by velocity the latter is not recommended Short Dynamics Choose how the dynamics of the short articulations will be controlled with a controller or by velocity Vibrato Control Choose which CC will be used to crossfade back and forth between vibrato sustains and non vibrato sustains Bo
13. e Room and Surround mics as mixing options You can load and unload the different mic samples from your RAM manually by using the on off switches above their respective faders and apply reverb using the send knobs in conjunction with the blue reverb knob switch in the bottom right Click the Preset button below the reverb knob to choose from seven different impulse responses taken from the famous Bricasti M7 hardware reverb An EQ is also available on the right if you would like to tweak the sound further For quick and easy access to different mixing options cycle through the presets on the left The various options make use of different mic configurations unique sound and will give you tremendous flexibility when working in a variety of cinematic settings z E o 09 Violas Articulations gt e Tune Output st 1 Voices O M SI2 Purge 3 00 gt Midi Ch A 8 g Memory 0 65 GB ml e CINESER ENTER ORE i JEN N E 3 i s Eiu s Mew s ol s Mw s E muL sPorT LOSE ROOM SORROM EQ MRE TIPS AND TRICKS No matter how great a library is programming a piece of music to sound like real humans played it is hard work Triggering samples of great players and asking them to pour their hearts into a melody are two very different things That emotion and musicianship has to be made up for by you the midi programmer Sometimes that involves really zero ing in on a line transition
14. e active with sustains If HQ Mode is on the crossfading between the different vibrato layers is smoother however this adds to the active voice count and increases CPU usage Performance Short Controls The number of controls vary between instruments though the functionality in each remains the same The controls written below refer to Violins I instrument Options Mapping Editor _ Wove Editor Script Editor Art rmar egri gi ulation Control LO Pert Longs 10 Bypass Preset v spicc_1 spicc_2 spicc_3 spicc_4 Controls the crossfading split points for spiccato shorts stacc_1 stacc_2 stacc_3 stacc_4 stacc_5 Controls the crossfading split points for staccato shorts marc_1 marc_2 marc_3 Controls the crossfading split points for marcato shorts sfz_1 sfz_2 sfz_3 Controls the crossfading split points for sforzando shorts For example if spicc_1 is set to O and spicc_2 is set to 40 lf a velocity of O is played only the first layer of spiccato is played If a velocity of 40 is played only the second layer of spiccato is played If a velocity of any value between 1 and 39 is played a crossfade blend of the first and second spiccato layers are played The same functionality applies to all articulations and dynamic layers for shorts Overlay Sets the minimum Velocity value that much be achieved in order to trigger a bow attack overlay Volume Controls the volume offset db of bow attack over
15. f you let go for the keyswitch and leave a space in your playing you will return to normal legato mode Naked Values These are the values where nothing is crossfading so you get the pure performances with regards to the dynamic control CC1 or Velocity The rest of the articulations are naked at 1 or 127 if there are only two recorded dynamics Sustains Marcato pp 0 10 p 0 40 p 41 50 mezzo 90 mezzo 80 82 f 127 f 107 ff 127 Sforzando mp gt n 0 40 Spiccato f gt p 90 pp 0 30 Sfz gt p 127 mp 80 mf 100 Pizzicato f 127 p 0 14 f 126 Staccato Bartok snap 127 pp 0 20 p 60 mezzo 80 f 100 ff 127 ADDENDUM BACK END CONTROLS WARNING Back up all of your patches before moving on Our intention regarding the CineStrings user experience is that you can load a patch and start writing immediately with as little time spent fiddling as possible However that requires us to make various decisions and assumptions based on our own experience and feedback from the community about specific technical settings along the way Some users have differing opinions workflows preferences though and would like to have more control over these types of details If that sounds like you then you re in luck We ve started designing more back end controls to give our team easier command over these technical functions and since they are there we ve decided to explain and make them available to you as well Please do a sa
16. full volume Note Be smart when adjusting these controls If an instrument s range control is set above its natural upper range limit the instrument will not trigger The CineStrings CORE Crew Produced by Michael Barry and Michael Patti Project Director Sam Estes Scripted by Patrick O Neil Engineer Mixer Dennis Sands Assistant Engineer Adam Michalak Recordist Michael Hobe Editors Michael Hobe Samuel J Smythe Anne Dern Julian Cisneros Quality Assurance Anne Dern and Dan Negovan ENJOY CineStrings CORE Core risg roe Ww 21vck SOMA BIC
17. he legato is triggered then you can move to 90 or even to 100 with no voice killing and it can remain seamless Again this isn t an issue in HQ mode but then your CPU usage will greatly increase Legato Smoothing As with any legato transition we captured a performance of sustaining one note moving to the next and holding the destination note briefly Having the whole legato performance gives us room ambiences and sonic interaction within the instruments and between the players Because of the nature of these performances there can be abnormalities in volume shifts that occur naturally There are many tricks you can utilize to even these transitions out both within the patches and in your sequencer Within the instrument we have a nice midi learn transition finder where you can change each transition if you wish to get very tweaky with your lines see the Backend Controls addendum Second you can add a CC modulator to the legato volume knob and manipulate the legato samples volume on the fly This is good if you are starting a note that has a natural swell in its volume and if you trigger a legato in the middle of that swell before it reaches it s peak volume the legato sample will sometimes bump so in that case you can just turn down the legato volume at that specific point and then ride it back up afterwards In your DAW we recommend doing a bit of volume automation using CC11 or cc7 In certain cases something like this m
18. ics become The highest dynamic is unaffected by this control Articulation Associates a group or multiple groups with a specific articulation This is used internally and should not be adjusted Microphone Associates a group or multiple groups with a specific microphone position This is used internally and should not be adjusted Performance Longs 1 0 Controls All the controls in this script slot with the exception of the octave control and HQ Mode affect the functionality of legato transitions The default values of these controls can be reset by holding ctrl and left clicking the control wer betes Pertorr Short VLN Ss OLE 10 Artioulotion Control 10 we emety Bypass Preset v HO Mode Extre Legato Controls fade1 Controls the crossfade time ms between the first sustain and legato samples fade2 Controls the crossfade time ms between the legato and destination sustain samples in offset Offsets the volume milli db to any sample in a legato transition being faded IN out offset Offsets the volume milli db to any sample in a legato transition being faded OUT Leg Hold Determines how long ms the legato sample holds before starting to fade out into the second sustain sample Overlay Vol Adjusts volume milli db of stacatto overlay samples that automatically trigger during rapid legato passages MIDI Learn Small volume adjustments 5db to 5db can be made to individual legato transi
19. ight be appropriate Another little trick when you are writing very slow lines is to turn down the legato speed controller to 0 then change the backend fade1 controller to 350 This will cause a longer crossfade between the prior note and the transition note which helps in blending but will make the legatos feel very sluggish If you adjust the speed knob to 100 then you may want to change the backend fade1 controller to 100 see Backend Controls addendum to make the legatos speak faster but this may cause a bit of bumping as well Feel free to experiment The other knob that can be useful in writing legato passages is the Legato Retrigger Delay knob found on the bottom of the settings page The knob delays the time between the actual release and when the release is actually applied If you set this all the way down or off then the following example will play as follows sustain bow change legato sustain If you move this knob back up the last note will still trigger a legato instead of a sustain because the darker note s release is delayed long enough to overlap with the last note Moving this knob to O essentially allows you to have exact control over what is a legato transition or what is a sustain while turning it up will give you legato transitions even when you accidentally leave a tiny bit of space between the notes Polyphonic Legato Polyphonic legato works for up to 3 voices You need to trigger the voices
20. lays Performance Ensemble Controls In the full ensemble patches there are extra controls in both the Performance Longs 1 0 and Performance Shorts 1 0 script slots The controls allow you to adjust the split points for each instrument across the key range There are independent split point controls for longs and shorts Aage O Cam rT Sets the key range split point for omo Pr h Cairina PUNEA y iN the basses Extra Legato Controls celli_range C a Sets the key range split point for the celli viola_range Sets the key range split point for the violas violin_range Sets the key range split point for violins and violins II For example lf a MIDI note 38 is played and the cello_range knob is set to 39 this not will not trigger the celli likewise if a MIDI note 38 is played and the ce lo_range knob is set to 36 this note will trigger the celli When a MIDI note is played that is equal to the value of an instrument s range knob the previous instrument will start fading out and the current instrument will fade in For example If a MIDI note 38 is played and the cello_range knob is set to 38 this note will trigger both basses AND celli The basses will be close to full volume while celli will be at a low volume If a MIDI note 39 is played the volume of the basses will decrease while the volume of the celli will increase This process continues up the key range until basses are no longer triggered and celli are at
21. mple controls When set to Random the Round Robin switch will randomly cycle through different short samples When set to Cycle the engine will just cycle through the round robin samples in the same order every time The RR reset will reset this cycle back to position 1 after you have stopped hitting any midi keys The RR reset knob controls how long it will take to reset Turning it all the way down will make the reset occur in 1 second and turning it all the way up will cause the reset to take 5 seconds Turning on the Sample Start control will let you use the knob to advance the sample start position This will make the attack of the note sound less realistic but can lead to increased tightness and responsiveness from the instrument The Legato Retrigger Delay knob allows you to control how long after you release a key the release sample will play This makes it easier to perform the retrigger legato sample performed by lifting up and then pressing the same note quickly This is an actual sample of the section re bowing the same note The Short Release Trigger switch will disable the release samples that trigger when you release a marcato sample early and employ a quick ADSR fade instead This will sound less realistic but require less CPU and may give you more exact control over the note length The MIXER Tab We recorded CineStrings in a way similar to CineWinds and CinePerc and have included the same set of Full Mix Spot Clos
22. not to tweak you can stick with one of the five preset mappings recommended We have provided different preset options to trigger these samples based on the different ways most composers like to work In the main Articulations patches you can choose from a variety of presets using the buttons on the left side of the MAPPING interface Velocity Map The short articulations are mapped based on velocity from shortest to longest Lightly tapping the keys will trigger the spiccato shorts while pressing very hard will trigger marcato shorts Hold the sustain pedal down and hit a key to trigger the sustain samples and then overlap midi notes to trigger legato samples Use the mod wheel to control dynamics for both long and short articulations Velocity Inverse Map Similar to the Velocity Map except the shorts are mapped inversely from longest to shortest as velocity increases Holding the sustain pedal will still give you sustains and legato and the mod wheel still controls all dynamics Keyswitch Map Use keyswitches white keys from CO AO to choose between articulations Mod wheel controls all dynamics Keyswitch Velocity Dynamics Map Use keyswitches to choose between articulations Velocity will determine the dynamics of the short notes mod wheel will control dynamics of sustain samples MIDI CC Map Lower velocities will trigger sustain samples and higher velocities will trigger short notes Use mod wheel for dynami
23. nough to add the room back in This helps to blend the sound and give a bit of space and gel to the sound Vibrato Control We have optimized the script to kill voices when they are not in use between Non Vibrato Vibrato and Espressivo max vibrato layers controllable with CC2 by default But when the controller is left set a certain way you are triggering two samples that are crossfaded together These cc values are 0 1 Non Vibrato ONLY 1 30 transition from non vibrato to vibrato 31 62 Vibrato ONLY 63 100 transition from vibrato to espressivo 101 127 Espressivo ONLY Because the script has to kill voices when not in use there are occasions you may hear some voices pop back in if the controller for vibrato is moved too quickly In the backend there is a HQ mode see Backend Controls addendum that will turn off this voice killing feature but creates a much larger voice count even when not using vibrato which causes more intensive CPU processing We also recommend not moving the vibrato controller much during a legato transition if you do we recommend limiting the controller to a range where no crossfade is happening so no voices are killed inadvertently For example if your Vibrato controller is at 31 and you move to 90 during a legato transition you may hear a bit of a bump when the legato is finished and the new type of vibrato sustain is called upon to be the landing note If you move the vibrato value to 63 before t
24. or crescendo and tweaking things to make it sound as performed as possible Here are some advanced settings and techniques to aid you in your quest These explanations go above and beyond the basics that were covered previously in this manual Bow Attack Overlay Bow Attack allows to help change the sound of an attack of a sustain or legato This way you can program in lines that don t sound repetitive or if you want that nice accent instead of creating a series of fast CC 1 and CC11 draws you can simply add in the Sforzando overlay to give that Zing to your strings Here are the midi CC trigger values cc9 by default 0 24 Disabled 25 49 Spiccato 50 74 Staccato 75 99 Marcato 100 127 Sforzando The bow attack will trigger by default when the keyboard velocity on your longs or legatos is above 111 This can be changed if you desire see the back end control addendum The dynamics of the bow attack are taken from your CC1 controller So if CC1 is set to 60 you will get roughly a mf gt ppp sforzando or a mp marcato staccato or spiccato Also note By default there is a slight staccato overlay that is triggered when you play legatos extremely fast This staccato is barely mixed in but does aid in making faster legato transitions speak better Soft Attack On all sustains if you play between 1 10 keyboard velocity you can create a slightly softer attack but only on the lowest dynamic layer This is done with an altered
25. our dynamics Spiccato 7 8xRR pp tof Staccato 5 6xRR pp to fff Marcato 3xRR p to ff Sforzando Overlay p to ff Tremolos p to f eSul Pont Tremolos p to f Trills Whole Step and Half Step p to f Pizzicato 5xRR p tof Bartok Pizz 3xRR Col Legno 3 5xRR Harmonic Sustains p to f f b col legno e SPECS Technical Specifications e Kontakt Player 5 3 or higher e Kontakt Player 5 3 supports Stand alone VST Audio Units RTAS AAX Pro Tools 11 and higher ASIO Core Audio WASAPI e Native 64 bit support for stand alone and plug in versions on both Mac amp PC e CineStrings is compatible with all major DAWs and with other music notation software Minimum System Requirements e PC Windows 7 8 64 Bit Intel i5 second gen 2 2 GHZ or AMD Phenom Il X4 12 GB RAM 8GB free required to load ALL patches on Full Mix e Mac OS X 10 74 Intel i5 2 2 GHz or 2008 Mac Pro 8 core Xenon 12 GB RAM e Minimum of 12 GB RAM e Minimum of 50gb Hard Drive Space on 7200rpm drive Recommended System Requirements e PC PC Windows 7 8 64 Bit Intel i7 4th Gen 3 Ghz or AMD FX93xx 8 Core 24 GB ram e Mac OS X 10 7 4 Intel i7 4th Gen 3 Ghz or 2010 Mac Pro 12 Core 24 GB Ram e 32 GB Ram is recommended for the Full Microphone load sets e We highly
26. s will set how long the crescendo hold and decrescendo will occur respectively Use the Beat Time switch to choose between setting these knobs to real time values or tempo synced values You can even assign these knobs to controllers if you want to get really crazy The dynamics you are crescendoing from up to and then back down to can be selected using the drop down menus below the three knobs You can actually set the dynamic range of the hairpins using a CC as well so for example instead of drawing or playing in large swells for a while and then medium swells for a while like in the old days you can set the hairpin creator s dynamic range to be wide pp to ff with one quick set of recorded CC values and then later in the piece set the hairpin dynamic range to something less drastic like pp to mf The loop button will allow the hairpins you create to keep cycling as long as you hold any keys down It will reset only when all notes are let go This is especially useful m AN AT when you want to play with two hands and you don t have an expression pedal handy pp apm ce CK CRESCENDO AND VBRATO Use the Link Crescendo and Vibrato switch to make the hairpin also affect the vibrato controller this can be used to create very expressive lines that would otherwise sound dull and flat without doing another pass playing in dynamics and vibrato controller data Across the bottom of the Settings tab you will see more sa
27. tions by MIDI learning the transition and adjusting the egato_vol milli db control Example Let s say you are performing a legato transition from C5 to D5 and feel that this one particular legato transition is too loud in the context of your sequence You could change the volume of this one individual transition by following three easy steps 1 Activate the MIDI Learn button by clicking on it 2 Perform the legato transition in this case C5 to D5 At this point you will notice the other menus below the MIDI Learn button have adjusted themselves to reflect the transition you just played note octave interval dynamic 3 Adjust the egato_vol control on the right to the desired volume offset milli db Now every time a C5 to D5 legato transition is played its volume will be offset according to the legato_vol s value This is a very powerful feature that lets you adjust every single legato transition volume if you so desire MIDI Learn S Small volume adjustments 5db to 5db can be made to individual sustains by MIDI learning the sustain and adjusting the sustain_vol milli db control This feature works the same was as the Midi Learn works for legatos octave Offsets the instrument s octave This is useful only for creating custom multi patches HQ Mode lf HQ Mode is off unused vibrato layers will be dynamically released and played as the vibrato controller is adjusted This lowers the amount of voices that ar
28. ve as of the patch with a different name before changing any of these values or make a backup folder with the Original instruments Also please keep in mind that we recommend using the patch with these controls set to their defaults If you hit the wrench icon and go to the Script Editor you ll notice different tabs containing scripts that help the patch function The first tab is for the GUI and can be ignored The other tabs contain various controls which are explained in detail below instrument Options Group Editor Mapping Editor A Wove Editor A Soript Editor Editor CS GU 10 Pertormance Longs 10 Pertormanoe Short VLN empty Bypass e Mod Long GROUP NAME multiple Preset cmap 31 714 ARTICULATION Sustain ModShori MICROPHONE Full Mix We Articulation Control 1 0 Controls Mod Long Sets the amount of dynamic range with sustains When set to the max value 100 sustains will have the most dynamic range possible When set to the min value 0 sustains will have the least dynamic range possible The higher the value the quieter softer dynamics become The highest dynamic is unaffected by this control Mod Short Sets the amount of dynamic range with short articulations spicc stacc marc When set to the max value 127 shorts will have the most dynamic range possible When set to the min value 0 shorts will have the least dynamic range possible The higher the value the quieter softer dynam
29. w Attack Overlay Back when we created CineBrass our Orchestral Brass Library we developed the staccato overlay feature We have taken this in a new MAJOR direction with our new bow attack overlay You can quickly switch types of overlay Marcato Sforzando etc through a CC which then is over layed on the attack of the sustains and legatos each time you trigger above 110 velocity This allows you to simulate many different styles of bow attacks and create unique playing styles on the fly See the tips and tricks section later in the manual for a more in depth look at this feature and the best ways to use it 01 Violins Articulations Qutput st 1 v ly Voices OQ Mae Midi Ch A 2 g Memory 0 84 GB CINESERIHNGS 818 orpi gt parper t The SETTINGS Tab This tab provides you with even more control over the way the instrument will behave The first thing you will notice in the top left section is the large Legato Speed knob and the Legato Volume knob The instruments have been optimized so that they sound the best with the position at 12 o clock The Legato Speed knob will adjust the sample start point of the actual legato transition sample so turning it down will make the legato response feel slower Turning the knob up will cut further into the legato samples allowing for faster agile lines Use the legato volume if you feel like you are hearing too much or not enough of the legato transition samples
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