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Hollywood Strings - Soundsonline

1. Harry Potter and the Prisoner of Azkaban Titanic The Curious Case of Benjamin Button The Bourne Ultimatum Minority Report Saving Private Ryan Munich The Passion of the Christ score mix X Men The Last Stand Memoirs of a Geisha Ice Age 2 and Ice Age 3 Hollywood Strings is the first virtual strings collection he has engineered Chapter 1 Welcome EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS Credits Producers Doug Rogers Nick Phoenix Thomas Bergersen Sound Engineer Shawn Murphy Production Coordinator Rhys Moody Programming Justin Harris Nick Phoenix Thomas Bergersen Scripting Patrick Stinson Thomas Bergersen Klaus Voltmer Editing Arne Schulze Pierre Martin Justin Harris Michael DiMattia Art Direction Steven Gilmore Thomas Merkle Doug Rogers Nick Phoenix Thomas Bergersen Software Doug Rogers Nick Phoenix Rhys Moody Klaus Voltmer Klaus Lebkucher Julian Ringel Patrick Stinson Adam Higerd Ezra Buchla David Kendall Nick Cardinal Jonathan Kranz Manual John Philpit Chapter 1 Welcome 7 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS How to Use This and the Other Manuals All documentation for the EastWest PLAY Advanced Sample System and its libraries is provided as a collection of Adobe Acrobat files also called PDFs They can be viewed on the computer screen or printed to paper Each time you install one of the PLAY System libraries two manuals are copied to
2. e molto vibrato MV The Basses were recorded with only the first 2 levels of vibrato no molto vibrato There are two different approaches used for controlling the depth of the vibrato during playback e The first approach links together loudness and vibrato depth as the loudness in creases so does the amount of vibrato And it is the Mod Wheel not the MIDI veloc ity that determines how loud the notes are played and how much vibrato is played This linking of dynamics and vibrato is common in some styles of playing The 3 instruments in each section that use this approach have a list of 4 vibrato depths in the name for example NV NV VB MV In case of the basses it s 1 instrument with 2 depths NV VB e The other approach allows you to control the dynamics and the vibrato independently The MIDI velocity and CC 11 control the loudness the Mod Wheel controls the depth of the vibrato To give you the extra control PLAY loads more samples into the com puter s memory and plays back more samples at once as is explained when these instruments are described in more detail later in this chapter The instruments with Sus 6 Sus 9 and Sus 13 in their names use this approach In both approaches the Mod Wheel allows you to cross fade among these samples to achieve a continuous spectrum of vibrato depth from none to a lot Leaving the Mod Wheel pulled down plays notes with no vibrato As you push it up y
3. 354dB 343 38 ms I Note that the total width of the graph represents the total length CX a C2 of all phases of the envelope Therefore when you change some thing in one part of the graph for example the length of the decay you may see the slopes of other components the attack and the release change as well because those phases become a larger or smaller percent of the whole this is as expected The Browser View The Browser behaves identically among all PLAY System libraries Read the main PLAY System manual for information about how to use that view Chapter 3 The Quantum Leap Hollywood Strings User Interface 25 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS Performance Scripts The Hollywood Strings Virtual Instrument includes three user modifiable built in scripts that can provide extra realism to phrases that take advantage of their benefits The Portamento script provides a sliding pitch between consecutive notes in a phrase This can be used to emulate the subtle portamento that occurs for example when a string player s finger moves along the string at the beginning or end of a sounding note e The Repetition script changes the quality of the notes when a single pitch is played multiple times in quick succession Although similar to what can be achieved with Round Robin patches the effect can be used on any articulation not only those with RR in the name e The Legato script creates a more flowing and conn
4. OR OTHER INTELLECTUAL PROPERTY IF YOU DO NOT AGREE TO THE TERMS OF THE LICENSE YOU MAY RETURN THE EASTWEST SOFT WARE AUDIO CONTENT AND INTELLECTUAL PROPERTY TO THE PLACE WHERE YOU OBTAINED IT FOR A REFUND YOU MUST RETURN THE ENTIRE PACKAGE IN ORDER TO OBTAIN A REFUND IF THE EASTWEST SOFTWARE AUDIO CONTENT OR INTELLECTUAL PROPERTY WERE ACCESSED ELECTRONICALLY AND YOU DO NOT AGREE TO THE LICENSE SIMPLY CLICK DECLINE IMPORTANT NOTE The software audio content and other intellectual property pro vided by EastWest to you may be used by you to create your own original works pursuant to the terms and conditions of this License You may not use distribute or broadcast any of the software audio content or other intellectual property in any manner not expressly permitted by this License If you are uncertain about your rights to use the software au dio content or other intellectual property you should contact your legal advisor before proceeding 1 General The EASTWEST SOFTWARE without limit the software scripts audio con tent audio loops sound files samples impulse responses audio processing tools im ages formulas designs inventions works documentation fonts and other intellectual property whether on disk in read only memory on any other media or in any other form provided to you is licensed not sold to you by EAST WEST SOUNDS Inc EAST WEST for use only under the terms of this License and EASTWEST res
5. and Keyswitches 35 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS For instruments in other folders 01 and 05 08 Because these instruments are smaller CC 1 the Mod Wheel controls the cross fade of both vibrato and dynamics at the same time CC 11 Expression performs global volume control What is different about the Niente versions is that CC 1 can bring the volume all the way to zero in addition to cross fading dynamics and vibrato Instead of trying to remember the differences described in the previous 2 paragraphs remember that in all Niente patches the MIDI Control Code that cross fades between dynamic layers can reduce the volume so that you can play notes at minimal audibility Note that patches are not listed as Ni in the following tables because that applies to all instruments in all folders except 03 04 and Full Short The Legacy Folder This folder includes earlier versions of some instruments that were the base form before the introduction of the Niente instruments They are included in the Legacy folder so that those working on older projects still have access to them But EastWest now recom mends using the Niente versions in any new project for their greater dynamic range The 11 Legacy folder is not listed in the following tables because it contains only the instruments that correspond to the Niente instruments from other folders but without the Niente functionality Overview of the Instruments in Hollywood Str
6. 4 the Main Menu selecting Current Instrument and then opening the Engine Ti S 140 00 4 Burn Advanced Properties dialog Neither of these tremolo instruments responds to the MIDI Velocity parameter Instead you need to use CC 11 to change the loudness This approach permits a continuous change in both dynamics and timbre in the middle of notes instead of having a fixed tim bre set at the beginning of each note This is done because long held passages includ ing the possibility of crescendo or decrescendo are characteristic of tremolo writing All 5 orchestral sections include both Tremolo and Measured Tremolo Chapter 4 Instruments Articulations and Keyswitches 53 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS Trills trill is the rapid alternation between 2 notes either half tone or a whole tone apart On a string instrument the two notes are played on the same string All the string sections except the Basses include an instrument that allows the user to select between a half tone trill and a whole tone trill with a keyswitch Play CO in advance of the trill to get a half tone trill or C 0 to get a whole tone trill The Trill instru ment for the Basses includes only a half tone trill Repetitions A Repetitions instrument is available in only 2 sections Violas and Basses The sound is that of a single note played over and over again for a little more than one second The repetition is slower than a tremolo bu
7. 48 Marcato Long RR v4 v4 48 Marcato Short RR v4 v4 v4 v4 v4 48 Pizzicato RR v4 v4 v4 v4 v4 47 Repetitions v v v v v 49 Ricochet RR v2 v2 v2 v2 v2 47 Spiccato RR v9 v9 v9 v9 v9 48 Staccato RR Y 14 v9 v9 v9 v9 48 Staccato Slur RR for 2nd Violins v Y 6 48 Staccato On Bow RR v9 v9 v9 v9 v9 48 Staccatissimo RR v9 Y 16 Y 16 v9 48 Slur Runs Spiccato Runs in subfolder MOD COMBOS gt Shorts MOD SPEED v8 v8 v8 v8 v8 49 gt Spiccato Marcato MOD v8 v8 v8 v8 v8 gt Staccato Marcato MOD v8 v8 v8 v8 v8 gt Staccato Slur Marcato MOD 5 Effects 1stVns 2ndVns Violas Celli Basses 50 Measured Tremolo Time Stretched Vv v 53 Tremolo v v 53 Repetitions v Y 54 Trill HT WT v 54 Trill HT Sul Ponticello 54 continued Chapter 4 Instruments Articulations and Keyswitches 38 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS INSTRUMENT OVERVIEW INDIVIDUAL SECTIONS Page in subfolder Pre Recorded Runs 50 gt 8va Run Down 8va Run Up 8va Run Up Down KS 8va Run Up Down MOD 8va Run Up Down SPLIT Major Run Down Major Run Up Major Run Up Down KS Major Run Up Down MOD Major Run Up Down SPLIT Minor Run Down Minor Run Up Minor Run Up Down KS Minor Run Up Down MOD Minor Run Up Down SPLIT Whole Tone Run Down Whole Tone Run Up Whole Tone Run Up Down KS Whole Tone Run Up Down MOD Whole Tone Run Up Down SPLIT subfolder Playable Runs 51 Staccato Slur Runs Staccato Rep Runs Script Spi
8. Controls 25 The Graphical Representation of the Envelope 25 The Browser View 26 Performance Scripts Click on this text to open the MasterNavigationDocument 15 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS The Hollywood Strings User Interface Each PLAY library presents its own interface when one of its instruments is the current one as specified in the Instruments drop down in the upper right corner The image at the bottom of the page provides an overview of the entire window in Player View when the current instrument is from the Hollywood Strings library Much of this interface is shared by all PLAY System libraries and the common features are described in the PLAY System manual The Hollywood Strings specific controls de scribed later in this section are those listed on the next page If you don t see a control described in this chapter look at the PLAY System manual that s the other manual installed on your hard drive during program setup LL MAIN MENU J SETTINGS Tst Violin Run Up Dn MOD 1 MIDI PORT STEREO DOUBLE CHANNEL 0 CES e Exo ve u ENS A Cm wer REVERB EW Hall LR VEL MAX 4 3 SES ENVELOPE GF Z Aa Air Chapter 3 The Quantum Leap Hollywood Strings User Interface 16 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS Here are the controls described in this manual and not in the PLAY System manual e Performance e Round Robin Reset e St
9. EastWest Quantum Leap Hollywood Strings library Diamond Edition you purchased includes all the following a complete set of sample based instruments enumerated later in this manual e approximately 312 Gigabytes of 24 bit 44 1 kHz samples e the EastWest PLAY Advanced Sample Engine e the unique authorization code that identifies the license you bought e manuals in Adobe Acrobat PDF format for both the EastWest PLAY System and the EastWest Quantum Leap Hollywood Strings Virtual Instrument e an installation program to set up the library software and documentation on your computer e an Authorization Wizard for registering your license in an online database One required item not usually included is an iLok security key If you already have one from an earlier purchase of software you can use it Otherwise you need to acquire one They are available from many retailers that sell EastWest and Quantum Leap products or you can buy one online at www soundsonline com Hardware Requirements See the Play System manual for a complete list of the Hardware and Software Require ments for installing and running any PLAY System library Chapter 2 Quantum Leap Hollywood Strings An Overview 13 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS Because both the size and complexity of many of the Hollywood Strings instruments are greater than in other PLAY libraries you will likely need an even more capable system than is recommended for those other
10. Next you re placed in a seat in the fifth row of the house and you listen to the same viola melody Now you hear more of the natural reverberation of the hall because your ears are not so overpowered by the sound coming directly from the violas This sound is captured by the Main mics a cluster of microphones called a Decca Tree above the front of the whole string orchestra Note that the Decca tree together with its outriggers is in an ideal position to balance the sound from all the sections for a big and unified sound ApvaNcED A Decca tree for those interest ed is an arrangement of three microphones originally designed at the English Decca Re cords and still used for orchestra recordings especially when recording movie scores The mics are arranged as in the diagram at the right Because of the 2 meter spacing between the left and right mics the audio provides the inten sity cues necessary for detailed stereo imaging while including sufficient phase information to produce an open and spacious sound In addi tion the middle microphone generates a solid central image 2 meters gt EI I For the next position you are seated right at the edge of the stage approximately at the midpoint between the first two seats What you hear is similar to what s captured by the Mid mics You get a little more individual definition than in the Main mics but without the proximity effect achieved with the Close mics Finall
11. Trek Tron Percy Jack son Twilight 2012 WALL E Indiana Jones 4 Harry Potter 6 Inkheart Tales Of Despereaux 300 A Christmas Carol Watchmen Angels and Demons Night at the Museum and Young Victoria are a few recent examples Nick founded Two Steps From Hell with Thomas Bergersen in 2006 www twostepsfromhell com The journey as a composer has inspired Nick to record and program his own sounds and samples Nick founded Quantum Leap Productions in 1997 and Quantum leap has since grown to be the world s top producer of high end virtual instruments A 13 year partnership with Doug Rogers and EastWest has yielded award winning software titles such as Stormdrum 1 and 2 Symphonic Orchestra Symphonic Choirs Silk RA Voices Of Passion Ministry Of Rock Gypsy Quantum Leap Pianos Goliath Hollywood Strings and many others Hollywood Strings is the culmination of years of experience and the input of a really strong and diverse team It is by far the best virtual instrument have been involved with Chapter 1 Welcome EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS Producer Thomas Bergersen Thomas Bergersen holds a composition and orchestration Master s degree and has worked in the capacity of composer orchestrator or music arranger on many Hollywood productions He founded Two Steps From Hell www twostepsfromhell com with Nick Phoenix in 2006 and has since written music for coun
12. and over 800 000 sample files the library captures the great variety of sounds possible in a lush string orchestra The PLAY Sample engine lets you create performances that will excite your creativity Chapter 2 Quantum Leap Hollywood Strings An Overview 12 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS Comparison of the Diamond and Gold Editions The Gold Edition is mostly a subset of the Diamond Edition It is intended for those with smaller or less capable computer systems and for those looking for most of the features and power of the Diamond Edition but at a smaller price Here are the differences Bit Depth the samples in the Diamond Edition are 24 bit those in the Gold Edition are 16 bit e Delivery the Diamond Edition is provided on a hard drive the Gold Edition is provided on a set of DVDs e Mic Positions The Diamond Edition includes samples from 5 independent mic posi tions that can be mixed together to achieve control over both acoustic vantage and spaciousness of the sound the Gold Edition provides a single mic position Legato The Diamond Edition includes several types of legato transitions including what s called Bow Change Legato the Gold Edition does not include Bow Change Legato e Divisi The Diamond Edition includes separate samples to accommodate Divisi pas sages the Gold Edition does not The list of articulations for the two libraries are the same except as described above What s Included This
13. approach similar to that described in the previous paragraph but they play at most 8 samples at once e 4 levels of loudness for non vibrato e 4 levels of loudness for vibrato e no molto vibrato samples 03 Short Tight The 03 Short Tight folder and the 04 Short Loose folder contain exactly the same col lections of instruments though the names in the O4 Short Loose folder include LS Chapter 4 Instruments Articulations and Keyswitches 46 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS The Tight instruments are more appropriate for faster passages because they include a little less of the attack providing a cleaner start to each note The Loose instruments include the entire recorded attack giving them a more natural sound for slower passages in which short notes are needed Each of these 2 folders contains a large collection of instruments that encompass the many articulations that string instruments can use to generate short sounds That in cludes forms of plucking the strings with the fingers bouncing the bow off the strings and just bowing a note of short duration This section describes these short articulations e Plucks Pizzicato and Bartok Pizzicato e Bounces Ricochet and Col Legno e Short Bows Marcato Spiccato various kinds of Staccato e Repetitions Both of these Short folders include a subfolder called MOD COMBOS In here you ll find several instruments that allow you to use the Mod Wheel or CC1 to affe
14. articulation even though there s no keyswitch note listed It is important that the main articulation and its release trails be assigned the same keyswitch note So when you change one be sure to change both to the same value e Changing the keyswitch note for any given slot in the list does not change the name in the list For example if you change the D 0 keyswitch to F1 a D 0 will still appear in the name The only way to know the currently assigned keyswitch note is to open the context menu and see which note is checked Chapter 3 The Quantum Leap Hollywood Strings User Interface 29 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS PLAY 4 Instruments Articulations and Keyswitches 31 Glossary of Articulation Names 33 The Table of the Instruments 41 Instrument Types 41 01 Long 46 02 Long Powerful System 46 03 Short Tight 49 04 Short Loose 50 05 Effects 54 06 Keyswitch 56 Legato Slur and Portamento 07 basic and 09 Powerful System 59 Legato Bow Change 08 basic and 10 Powerful System 61 Full Strings Click on this text to open the MasterNavigationDocument 30 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS Instruments Articulations and Keyswitches The EastWest Quantum Leap Hollywood Strings virtual instrument is a library designed to create string orchestrations of the kind heard in movie soundtracks but of course it can be used for many other types of string music as well And it mixes well wit
15. can handle Note that when run as a plug in each instance of PLAY has its own set of outputs That means that if the staccato celli and the pizzicato violins are running in separate in stances of PLAY and they are both assigned to outputs 3 4 they will end up in separate audio tracks in the sequencer If Using Only One Microphone Position It is certainly possible to create a piece with only a single microphone position Usually the Main mics are a good choice though in some cases the Close or Mid mics might be the right choice It s unlikely but not impossible you will want to use exclusively the Surround or Vintage mics because they give such weight to the hall s ambience Chapter 5 Orchestral Technique 85 EASTWEST END USER LICENSE AGREEMENT EASTWEST SOUNDS INC END USER LICENSE AGREEMENT THE EASTWEST SOUNDS INC END USER LICENSE AGREEMENT GOVERNS THE USE OF EASTWEST EASTWEST QUANTUM LEAP AND QUANTUM LEAP SOFTWARE AUDIO CONTENT AND OTHER INTELLECTUAL PROPERTY PROVIDED BY EASTWEST TO THE END USER PLEASE READ THIS LICENSE AGREEMENT LICENSE CARE FULLY BEFORE USING THE EASTWEST SOFTWARE AUDIO CONTENT AND OTHER INTELLECTUAL PROPERTY AS IT GOVERNS THE TERMS AND CONDITIONS OF YOUR USE BY USING THE EASTWEST SOFTWARE AUDIO CONTENT OR OTHER INTELLECTUAL PROPERTY YOU ARE AGREEING TO BE BOUND BY THE TERMS OF THIS LICENSE IF YOU DO NOT AGREE TO THE TERMS OF THIS LICENSE DO NOT USE THE EASTWEST SOFTWARE AUDIO CONTENT
16. has no effect because the script is turned off at that point Monophonic Behavior Both the Portamento and Legato scripts change the instrument so that it can play only one note at a time whenever the script is turned on If a note is still playing when a new note starts the first note will end at that moment This behavior allows for no ambiguity in how the notes form a phrase One consequence of this behavior is that if you want two concurrent legato lines or one legato and one non legato line played with the same articulation you need to open the same articulation file more than once and turn on the Legato script where appropriate Of course the same rule holds for the Portamento script Repetition Script When playing consecutive notes of the same pitch the use of a single sample over and over in quick succession can sound mechanically identical which is called the ma chine gun effect The Round Robin patches are one way to fix this problem The Repeti tion script solves the same problem in another way For any articulation this script uses one or more of three randomly selected options to keep the sound a little different on each repetition Chapter 3 The Quantum Leap Hollywood Strings User Interface 27 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS Use the sample for a nearby note for example a half step higher or lower and retune it to the needed pitch e Start the note a tiny amount before or after the specified st
17. in this section also applies to CCI Mod Wheel and all other MIDI control codes Learning to shape musical lines the same way an instrumen talist does will give your work a more natural musicality By combining velocity control expression Mod Wheel and volume you change digital samples into real living music Using Cross Fades Hollywood Strings makes extensive use of cross fading more than any EastWest library that was created before it The basic idea of a cross fade is that 2 or more samples of the same instrument but that differ in some aspect such as loudness timbre and or vibrato are played back simultaneously And the mix of how much of each sample makes it into the audio output is controlled by some MIDI control code Traditionally that has been Control Code 1 the Mod Wheel Hollywood Strings uses these Mod Wheel cross fades even more often and now with a second option Control Code 11 Expression Part of the reason for using more cross fades is that they provide a more continuous and gradual change from one sound to another Also they modify timbre along with loud ness even mid note just like an acoustic instrument And a third reason for using more cross fades in this library is that recent improvements in hardware and software make this much more realistic approach possible In Hollywood Strings look for cross fades in articulations that can be sustained such as e the basic sustain programs e tremolos e leg
18. keyboards and control sur faces have programmable knobs and or sliders that can be set to send CC11 messages to a specific MIDI channel Sliders are generally more sensitive for real time control If your sequencer supports automation it can record the movements of the knob or slider Chapter 5 Orchestral Technique 13 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS and save them as part of the project Such manual and real time control over the shape of an instrumental line is usually more efficient than drawing in an envelope and often achieves more convincing results EastWest s choice to use CC11 allows CC7 volume to be used in other ways The usual convention is to use the volume slider in your sequencer to adjust the overall volume level of each track in the mix Although the volume and expression controls can be adjusted separately the volume setting does change how expression af fects perceived volume Think of CC7 as setting an upper limit on the dynamics at any moment Expression like most con tinuously changeable values in MIDI takes values between O and 127 CC7 specifies how loud a sound to generate for the 11 50 maximum expression 127 The diagram seen here shows that when volume decreases the fixed changes in expression repre e sent smaller changes in perceived loudness Changing from an expression level of 50 up to 100 represents a smaller change in loudness when the volume control CC7 is reduced CC11 100
19. of Control Code 1 in a sequencer envelope All the staccato patches are Round Robin instruments with in the range of 9 16 sets of samples in rotation Shorts MOD SPEED This instrument found in the MOD COMBOS subfolder allows you to use the Mod Wheel to move continuously among several short articulations As you push the Mod Wheel up from the bottom the articulations you hear are in order e Staccatissimo e Staccato e Staccato on Bow e Marcato Short This Shorts MOD SPEED instruments include 8 distinct samples in their round robins Repetitions In this patch the section plays the same note repeatedly about a dozen times in quick succession For fewer repetitions end the note before the end of the sample This se quence of notes is slower than a tremolo And it s more realistic than just playing the same staccato note multiple times because you get the sound of the bow changing direc tion between notes This is not a Round Robin instrument If you do repeat a MIDI note perhaps because you need more repetitions than are recorded in the samples the listener will hear the last repetition followed by the first one so there s no concern about mechanically identi cal notes following each other Note unlike most instruments in the O2 Short folder this one does include release trails 04 Short Loose This folder contains the exact same list of instruments as 03 Short Tight but with an LS in the name See the first paragr
20. of different positions the sound of the orchestra was captured from including Chapter 5 Orchestral Technique 78 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS e at the front of the room and high above using a Decca tree other locations at the front of the ensemble directly in front of each section on either side of a section to capture the divisi sound away from the instrumentalists to capture the room s natural ambience All the recorded samples are phase locked meaning that when two or more of them are mixed into a stereo recording they are necessarily in phase and there will be no de structive interference The ability to combine the multiple auditory perspectives gives you the same kind of control that a recording engineer enjoys when recording a live concert performance from multiple microphone feeds The image on the previous page shows the PLAY System interface that allow you to mix the various samples With the available knobs sliders and buttons you pan each mic separately change their dynamics to suit your needs load unload the samples from RAM mute and solo each mic to achieve the sound you want both while composing and when mixing the final output And as shown in the drop down menu at the bottom of the image you can assign the audio output from each set of microphones to its own output channel These controls are described in more detail starting on page 78 For another photo of the mics in the studio
21. perceived volume level MIDI Envelopes and Control Data Most modern sequencers let you draw an envelope for MIDI control codes The diagram below with the yellow curve is an example of an envelope for CC11 Notice how the val ues are constantly changing the same way a cello player adds musicality and interest to a phrase by changing the bow s pressure on the strings moment to moment The dark horizontal lines near the top are the notes CC 11 40 0 When saved as MIDI data this same envelope appears as a finite set of commands as in the next image In a sequencer track these often appear as vertical lines each line being a command to change the value in this case to change CC11 The other way and many say it s the better way to send CC11 events to the sample player is with a MIDI controller either a keyboard or a control surface As long as you or your group has an extra hand or foot if you use a pedal you can enter these control codes while playing the notes into the sequencer This allows you to hear the interchange Chapter 5 Orchestral Technique 74 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS among the notes their velocities how hard you re hitting the keys and the expression being added with CC11 This process can also be done in two passes notes first then control data if your setup allows you to record automation data to a track that already contains other MIDI data Everything written about CC11
22. recording you need to understand the various approaches to combining them into the final mix Chapter 5 Orchestral Technique 83 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS The following three cases describe some basic setups to show how you can use the Out put controls with emphasis on the individual microphone positions When considering the possibilities of multiple instruments each with its own microphone positions the ways of setting up the outputs are too numerous to list here Use the principles de scribed here to define your own approach 1 Creating separate audio tracks for each microphone one at a time In this approach you can set up one or more instruments with a single mic position and the output going to one or more audio tracks in the sequencer Usually you will work with the Main mics during the composition phase especially if this is the mic position that will dominate in the final mix Once you re ready to commit the composition to the audio track s bounce down the track s to create a single mic recording Then go into every instrument in PLAY that contributed to those audio tracks so you can unload the Main mics and replace them with a different set for example the Close mics Bounce down new audio track s making sure you name your tracks to indicate which mic position was used Don t worry about the loudness of this track relative to the first audio track you will adjust that in the final mix down If you re
23. see page 12 The photo above taken during the setup at EastWest Studios in Hollywood California gives you some idea of how many microphones were capturing the sound simultaneously The controls in the Player view allow you to turn on or off the various mics adjust their relative volume and pan them however you want You do need to be aware that the samples for each microphone occupy their own space in RAM memory If your computer doesn t have enough RAM to load all the samples you need at once you may want to use only one set of mics most likely the Main mics when composing You can then add in any other mics when you re ready to work on the sound of the performance Understanding the Five Microphone Positions To understand how the five mic positions can help you let s perform a quick thought experiment Imagine yourself in a concert hall with a large string orchestra on the stage We ll use a hall instead of a recording studio to make the various locations relative to the instruments easier to write about Chapter 5 Orchestral Technique 79 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS First you re invited to sit directly in front of the viola section who play a melody What you hear approximates the sound recorded in the Close mic position The sound coming directly from the instruments is so much louder than the reflections off the walls and other surfaces that these reverberations make up a very small part of what you hear
24. so only removes the room s ambience after the note ends not while it is being played Turning them off can result in unnaturally abrupt endings to the notes but that can be effectively hidden by turning on the Reverb effect Note that staccato and other short articulations do not as a rule include release trails Digital Reverb Convolution Reverb is a digital effect that simulates the sound of a room s ambience through a set of mathematical algorithms that use known reflection times of a set of test tones and apply that data to generate artificial reflections in real time PLAY includes such a reverb and the data called impulse responses or IRs with which to recreate many different sizes of rooms The IRs built into Hollywood Strings include the exact EW Studio 1 in which the Hollywood Strings recording sessions took place as well as the hall in which the Symphonic Orchestra library was recorded for those who want to use the two libraries together You will have to decide in what way to use each of these technologies for each project As long as you understand how each of these three components contributes to the sound you are hearing and the limitations of each technology you can use your ear to deter mine how to get exactly the sound you want Mixing Microphones From Separately Bounced Tracks versus Mixing in PLAY Because mixing 2 or 3 of the mic positions in the right proportions can add dimension to a stereo or surround sound
25. the walls The reflection from the right wall which will be louder in our right ear travels 30 meters 5 plus 25 the reflection from the left wall louder in our left ear travels 70 meters 45 plus 25 That 40 meter difference means that the reflection arrives in our right ear approximately one ninth of a second sooner than in our left ear a significant difference And the other instruments all have their characteristic left right delay based on where they sit on the stage It is impossible for a single digital reverb to achieve that level of realism Proximity Clues Panning left or right is not the only way to separate instruments It is also possible to move them forward and backward This can be achieved in three ways 1 Dynamics relative to timbre 2 Delay 3 Presence 1 When most musical instruments change from being played louder to softer the timbre of the sound changes Even if you let someone else adjust the volume control on your stereo you can still tell whether the cello you re hearing was played loud or soft based on the instrument s tone most instruments have a harsher sound when played louder So in an orchestral mix if the cellos seem to be played loud but the volume level of that instrument compared to others is softer then the ear assumes the cellos are farther away Adjusting independently the timbre with velocity parameters and or a cross fade using the Mod Wheel or CC 11 and the volume of the sound you can
26. the King Harry Potter 2 Star Wars Episode 2 Spiderman 3 Pirates of the Caribbean 3 Blood Diamond Night at the Museum and The Da Vinci Code Quantum Leap has now firmly established itself as one of the world s top produc ers of high end sample libraries and virtual instruments In 2006 EastWest purchased the legendary Cello Studios formerly United Western Re corders on Sunset Boulevard in Hollywood re naming it EastWest Studios The 21 000 sq ft facility since remodelled by master designer Philippe Starck houses five record ing studios and is the world headquarters for EastWest Chapter 1 Welcome 2 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS Producer Doug Rogers With over 30 years experience in the audio industry founder and producer Doug Rogers is the recipient of over 60 industry awards more than any other sound developer His uncompromising approach to quality and innovative ideas have enabled EastWest to lead the sound ware business for more than 22 years The Art of Digital Music named him one of 56 Visionary Artists amp Insiders in the book of the same name He released the very first commercial Drum Samples CD in 1988 and followed it with the multiple award winning Bob Clearmountain Drums sample collection which he co produced In the years that followed he practically reinvented the sound ware industry EastWest introduced loop sample libraries to the market in the early nineties followed closely by the f
27. the MIDI Controllers Keyswitch Instruments Creating a Soundscape Volume Velocity and Expression MIDI Envelopes and Control Data Using Cross Fades Achieving Legato Sound Controlling Vibrato Divisi Instruments Directing the Audio Output The 5 Microphone Positions in Hollywood Strings Click on this text to open the MasterNavigationDocument 66 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS Orchestral Technique in Hollywood Strings This chapter discusses ways to use EastWest Quantum Leap Hollywood Strings to achieve the traditional sound of a studio string orchestra The first section is advice from the producers about setting up templates Setting Up Templates An ideal way to work with a string orchestra of this size is to set up templates once you have gotten to know the sounds and how all the features of PLAY work You might for instance have comedy template that has a lot of staccato articulations pizzicato and percussive string playing such as col legno and or an epic template that has a lot of legato ensemble programs Obviously the more computers you have and or the more capable the computers the bigger your templates can be One thing to keep in mind when setting up a template is that you should always try to keep articulations that might use the same samples in the same instance of PLAY For example the MOD Combo called e Ist Violins Spic Marc MOD ewi uses the same list of samples as these two e lst Vio
28. the Player view as shown in the image at the left of the button turned on e Invoke MIDI Control Code 14 on the MIDI channel for this instrument using a slider on a control surface or an envelope in a sequencer e Set CC 14 to a value of 66 127 when you want to force the playback of downward samples e Set CC 14 to a value of exactly 65 to force the playback of repetition samples neither upward no downward e Set CC 14 to a value of 0 64 to force the playback of upward samples The notes in this instrument do not respond to MIDI velocity that is changing the veloc ity on any given note will not affect how loudly it is played Instead use the Expression control code CC 11 to set the loudness of the notes in the run Note that all samples in this patch are repetitions that is the sound of a single note being played multiple times in quick succession similar to a tremolo In a fast run each note in the run is short enough that only the first note in the repetition has time to play but if the run stops on any note you will hear the repetition If you do not want this repetition effect then you will want to select a different patch for these longer notes Slur Runs These instruments only available in the 1st and 2nd Violins generate the sound of a fast playing scale Each patch includes all the components needed for every part of the run e the fast notes in the run e the slurs that move the pitch from one note to the ne
29. to automatically adjust values during playback See the documentation from your hardware or software for information about how to change the values of control codes Chapter 3 The Quantum Leap Hollywood Strings User Interface 26 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS The following table lists the codes that affect these scripts Note that the MIDI Control Codes have no effect unless the corresponding script is turned on in the PLAY interface Code Portamento Repetition Legato 5 Time Time 65 On Off 68 On Off 69 On Off The three On Off control codes all work the same way a value 64 or higher turns the script on and any other value 0 63 turns the script off CC 5 affects the duration of the portamento or legato The possible values are 0 127 The higher the value the longer the effect takes to complete that is you should set higher values to make the sound more pronounced Use your ear to find the right values for each note in the phrase The image at the left shows two envelopes affecting the Portamento script in a host The nine white horizontal bars are the notes The light gray line that jumps from the top to near the bottom and back to the top is CC 65 that turns the script on and off so that only some notes use portamento The curving line near the middle is CC 5 setting the effect s Portamento time parameter for each note individually Note that the middle section when the CC 65 line is near the bottom CC 5 actually
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31. CC7 be set only once at the beginning of the piece or at least only at the start of major sections CC11 can provide the kind of dy namic shaping of notes that give music its expressive life hence the name Expression for this Control Code Use it to create swells in the middle of a note or of a phrase With CC11 you create the crescendos and fluid dynamics of expressive music In Hollywood Strings CC11 is often used to control cross fades especially when the Mod Wheel is already being used to control some other aspect of the notes such as the depth of the vibrato In these cross fades CC11 still provides the same continuous con trol of loudness that was described above and it also controls timbre In such a cross fade Velocity is usually turned off that is the selection of which dynamic layer should provide the samples is taken away from Velocity In a CC11 cross fade all the dynamic layers for example pp mp mf and ff play at once and CC11 controls how much of each to mix into the output In this approach both the loudness and the timbre change continuously and together giving a much more realistic sound You will generally find CC11 cross fades on those Hollywood Strings instruments that can benefit from mid note changes in dynamics because they are often held for long times It is possible to shape the dynamics of a line either by playing a CC11 controller in real time or by drawing an envelope in a sequencer Most MIDI
32. DIVIDUAL SECTIONS Page Sus 1 NV NV NV VB RR v 4 4 4 41 Sus 2 NV NV VB VB RR v 4 4 4 Sus 3 NV NV VB MV RR V4 v 4 v Sus NV VB RR 4 D tch RRMSEP _ 7 NL D tach RR Marcato Sus 9 RR 4th Position 45 Marcato Sus 8 RR Sus 6 Down Bow Y Y Y V4 41 Sus 6 Down Bow 4th Position Y Y Y Y Sus 9 Down Bow KSFP Y Y Y Y Sus 9 Down Bow 4th Position Y Y v Sus 8 Down Bow Y Sus 6 Up Bow KSFP Y Y Y v Sus 6 Up Bow 4th Position Y Y Y Y Sus 9 Up Bow KSFP V4 Y Y 4 Sus 9 Up Bow 4th Position Y V4 Y 4 Sus 8 Up Bow 4 6 RR KSFP Y 4 Y Y Sus 6 RR 4th Position Y Y Y Y Sus 9 RR KSFP Y 4 Y Y Sus 9 RR 4th Position Y Y Y Y Sus 8 RR Flautando 45 Harmonics Y 46 02 Long Powerful System 1stVns 2ndVns Violas Celli Basses 46 S usi3DownBowKSFPP YOCOM Sus 13 Down Bow 4th Position v Y Y Y Sus 13 Up Bow KSFP V4 4 Y Y Sus 13 Up Bow 4th Position Y Y Y v continued Chapter 4 Instruments Articulations and Keyswitches 37 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS INSTRUMENT OVERVIEW INDIVIDUAL SECTIONS Page Sus 13 RR KSFP Sus 13 RR 4th Position Sus 8 Down Bow v Sus 8 Up Bow Y Sus 8 RR 03 Short Tight and 151 Vns 2ndVns Violas Celli Basses 46 04 Short Loose 1st Vns 2ndVns Violas Celli Basses 49 numbers in cells for the short instruments are the number of samples in the round robins Bart k Pizzicato RR 2 v2 v2 v2 47 Col Legno RR Y 4 v2 v4 v4 v4
33. INGS the same folder with the other legato patches but were moved into their own fold when the Gold Edition became available Bow Change Legato During a legato passage string players sometimes have to change the direction out of necessity and sometimes do so for the effect Hollywood Strings gives you the option of using this articulation at any time it suits your needs The sound of the bow changing direction has characteristic sound independent of any slur or portamento In the legato instruments that include Bow Change together with Portamento and or Slur effects PLAY decides which of the components to play based on the MIDI data as de scribed in detail in the Combinations section below Combination Legato Instruments with Bow Change This section describes the parameters that PLAY uses to change from one kind of legato to another within a single instrument For combination instruments that do not include bow change legato see the description above starting on page 58 Bow Change Slur For this instrument slower tempos use the bow change samples while faster tempos use the slur samples And legato transitions are also shorter or longer de pending on the speed of the passage The tempo is detected with a script that calculates the time between consecutive notes When notes are played with a MIDI Velocity at the high end of its range close to 127 tempo detection it temporarily turned off and those notes play with the fastest sl
34. NSORS COLLECTIVELY REFERRED TO AS EASTWEST FOR THE PURPOSES OF SECTIONS 7 AND 8 HEREBY DISCLAIM ALL WARRANTIES AND CONDITIONS WITH RESPECT TO THE EASTWEST SOFTWARE EITHER EXPRESS IM PLIED OR STATUTORY INCLUDING BUT NOT LIMITED TO THE IMPLIED WARRAN TIES AND OR CONDITIONS OF MERCHANTABILITY OF SATISFACTORY QUALITY OF FITNESS FOR A PARTICULAR PURPOSE OF ACCURACY OF QUIET ENJOYMENT AND NON INFRINGEMENT OF THIRD PARTY RIGHTS EASTWEST DOES NOT WARRANT AGAINST INTERFERENCE WITH YOUR ENJOYMENT OF THE EASTWEST SOFTWARE THAT THE FUNCTIONS CONTAINED IN THE EASTWEST SOFTWARE WILL MEET YOUR REQUIREMENTS THAT THE OPERATION OF THE EASTWEST SOFTWARE WILL BE UNINTERRUPTED OR ERROR FREE OR THAT DEFECTS IN THE EASTWEST SOFT WARE WILL BE CORRECTED YOU FURTHER ACKNOWLEDGE THAT THE EASTWEST SOFTWARE IS NOT INTENDED OR SUITABLE FOR USE IN SITUATIONS OR ENVIRON MENTS WHERE THE FAILURE OF OR ERRORS OR INACCURACIES IN THE CONTENT DATA OR INFORMATION PROVIDED BY THE EASTWEST SOFTWARE COULD LEAD TO DEATH PERSONAL INJURY OR SEVERE PHYSICAL OR ENVIRONMENTAL DAM AGE INCLUDING WITHOUT LIMITATION THE OPERATION OF NUCLEAR FACILITIES AIRCRAFT NAVIGATION OR COMMUNICATION SYSTEMS AIR TRAFFIC CONTROL LIFE SUPPORT OR WEAPONS SYSTEMS NO ORAL OR WRITTEN INFORMATION OR ADVICE GIVEN BY EASTWEST OR AN EASTWEST AUTHORIZED REPRESENTATIVE SHALL CREATE A WARRANTY SHOULD THE EASTWEST SOFTWARE PROVE DEFEC TIVE YOU ASSUME THE ENTIRE COST OF ALL NECESSARY SERVICING REP
35. PLAY EastWest Quantum Leap Hollywood Strings Virtual Instrument Diamond Edition Users Manual EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS The information in this document is subject to change without notice and does not rep resent a commitment on the part of East West Sounds Inc The software and sounds described in this document are subject to License Agreements and may not be copied to other media except for the purpose of copying the data to the personal computer system hard drive of the licensed user No part of this publication may be copied reproduced or otherwise transmitted or recorded for any purpose without prior written permission by East West Sounds Inc product and company names are TM or trademarks of their respective owners PLAYTM is a trademark of East West Sounds Inc East West Sounds Inc 2010 All rights reserved East West Sounds Inc 6000 Sunset Blvd Hollywood CA 90028 USA 1 323 957 6969 voice 1 323 957 6966 fax For questions about licensing of products licensing eastwestsounds com For more general information about products info eastwestsounds com http support soundsonline com Version of June 2011 uo BR ON EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS PLAY About EastWest Producer Doug Rogers Producer Nick Phoenix Producer Thomas Bergersen Sound Engineer Shawn Murphy Credits How to Use This and the Other Manuals Using the Ad
36. Ribbon mics With this choice for the Surround mics you can recreate the older Hollywood sound of classic movies The producers recommend using the Vintage mics with just a bit of the close mics to achieve this traditional Hollywood ambience Adjusting the Delays Because all three sets of samples were recorded simultaneously for each note in the library there are predictable and natural delays in the time it take the music to reach each set of more distant mics This latency is part of the natural reverb of the hall and it produces a pleasing fullness to the sound when the samples are mixed correctly If you want to tighten up the reverb from the Surround or Vintage samples it is possible with modern sequencers and mixers to adjust the audio track from the Surround samples a little forward in time Either perform a calculation using the speed of sound at sea level approximately 340 meters second 1100 feet second if you prefer or let your ears de cide what works best If you do plan to micro adjust the audio as in the previous paragraph be aware that you will need to record the output from the individual mics to separate audio tracks You can not have the PLAY engine mix the audio tracks in a single plug in instance or standalone instance That is you need to record one track with for example only Main mics and a different track with only Surround mics The Close mics of course have virtually no latency only a small amount necessary
37. STWEST QUANTUM LEAP HOLLYWOOD STRINGS Round Robin Reset Button round robin articulation is one in which several different samples are recorded with all parameters such as volume speed of attack and so on being essentially constant The PLAY Engine then knows to alternate between the two or more samples during playback The goal is to avoid what s often called the machine gun effect in which playing the same sampled note repeatedly causes the unnatural sound of consecutive notes being mechanically identical Any articulation with RR in its name uses round robin technology Those with an x3 X4 or the like in the name use 3 4 or more different samples for each note PERFORMANCE There s one potential problem with round robin technology and one way to solve it is MEY the Round Robin Reset button The PLAY Engine remembers which sample should be played the next time the note sounds If for example a round robin patch contains two samples A and B and a piece uses that note 7 times the PLAY Engine plays A B ABA B A If the piece is played again from the beginning the engine will play starting with B because that s next in order The second rendition will be subtly different Being able to reset all round robin articulations to the beginning of the cycle allows for consis tent playback You can use this button to reset all round robin articulations on demand Or use your choice of a MIDI note or MIDI control code to reset t
38. STWEST SOFTWARE in machine readable form for backup purposes only provided that the backup copy must include all copyright or other proprietary notices contained on the original B You may use the EASTWEST SOFTWARE to create your own original music composi tions or soundtracks for your film video music and audio projects and you may broad cast and or distribute your own original music compositions or soundtracks that were created using EASTWEST SOFTWARE C You may not use the EASTWEST SOFTWARE to create sounds or other content for any kind of synthesizer virtual instrument sample library sample based product musical instrument or competitive product You may not license sell or distribute commer cially or otherwise either the EASTWEST SOFTWARE or any portion or component parts of the EASTWEST SOFTWARE on a standalone basis or repackage and sell license or distribute either the EASTWEST SOFTWARE or any portion or component parts of the EASTWEST SOFTWARE on a standalone basis D You may use the EASTWEST SOFTWARE to compose original music compositions or soundtracks or for a Production Music Library also known as stock music or library mu sic original compositions or soundtracks created entirely by you using the EASTWEST SOFTWARE that you in turn license as an original composition or soundtrack to third parties for use in film television radio or other media provided the completed compo sition or soundtrack is created so
39. Section shall be at EASTWEST s option a refund of the purchase price of the product containing the EASTWEST SOFT WARE or replacement of the EASTWEST SOFTWARE that is returned to EASTWEST or an EASTWEST authorized representative with a copy of the original receipt THIS LIMITED WARRANTY AND ANY IMPLIED WARRANTIES ON THE MEDIA INCLUDING BUT NOT LIMITED TO THE IMPLIED WARRANTIES OF MERCHANTABILITY OF SATISFACTORY QUALITY AND OF FITNESS FOR A PARTICULAR PURPOSE ARE LIMITED IN DURA TION TO NINETY 90 DAYS FROM THE DATE OF ORIGINAL PURCHASE SOME JU RISDICTIONS DO NOT ALLOW LIMITATIONS ON HOW LONG AN IMPLIED WARRANTY LASTS SO THE ABOVE LIMITATION MAY NOT APPLY TO YOU THE LIMITED WARRAN TY SET FORTH HEREIN IS THE ONLY WARRANTY MADE TO YOU AND IS PROVIDED IN LIEU OF ANY OTHER WARRANTIES IF ANY CREATED BY ANY DOCUMENTATION OR PACKAGING THIS LIMITED WARRANTY GIVES YOU SPECIFIC LEGAL RIGHTS AND YOU MAY ALSO HAVE OTHER RIGHTS THAT VARY BY JURISDICTION 7 Disclaimer of Warranties YOU EXPRESSLY ACKNOWLEDGE AND AGREE THAT TO THE EXTENT PERMITTED BY APPLICABLE LAW USE OF THE EASTWEST SOFTWARE IS AT YOUR SOLE RISK AND THAT THE ENTIRE RISK AS TO SATISFACTORY QUAL ITY PERFORMANCE ACCURACY AND EFFORT IS WITH YOU EXCEPT FOR THE LIM ITED WARRANTY ON MEDIA SET FORTH ABOVE AND TO THE MAXIMUM EXTENT PERMITTED BY APPLICABLE LAW THE EASTWEST SOFTWARE IS PROVIDED AS IS WITH ALL FAULTS AND WITHOUT WARRANTY OF ANY KIND AND EASTWEST AND EASTWEST S LICE
40. WEST QUANTUM LEAP HOLLYWOOD STRINGS sound after the hammers hit and leave the strings and velocity works the same way here In the current implementation of MIDI velocity is usually designated by a number be tween O and 127 Many software sequencers display velocity as vertical bars something like those at the bottom of the image above Most modern sample players PLAY included can play different samples for different ranges of velocity For example the team creating the samples record Middle C with the violin section for pp p mp mf etc The team then assigns the pp samples to say velocities 0 25 the p samples to velocities 26 45 and so on Because each dynamic level of a violin has its own timbre a note s velocity can affect not only its loudness but also its timbre Velocity changes are therefore a much better way than volume changes to achieve natural sounding dynamics The disadvantage of velocity is that it cannot be changed mid note Using loudness and velocity together gives the orchestrator more control over all aspects of dynamics In MIDI velocity is an attribute of the Note On message it can only be transmitted at the onset of a note Volume in contrast is a control code CC7 it can be transmitted at any time Expression is represented by another MIDI control code CC11 The usual way to use CC11 is for continuous control of the loudness That is while Velocity cannot change mid note and it is recommended that
41. age at the right shows the notation for a natural harmonic sound ing two octaves above the violin s open D string and for an artificial harmonic sound ing two octaves above the written F Marcato refers to notes that are played with a strong accent at the beginning Measured tremolo is the rapid repeti tion of a note and at a specific num ber of strokes per minute or at a spe Chapter 4 Instruments Articulations and Keyswitches 31 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS cific note length Everyone in the section plays the notes in synch and on the beats The PLAY software determines the tempo by asking the host or when in standalone mode from the Engine Tempo Sync control in the Advanced Properties dialog for the current instrument e On the bow staccato notes are like the other staccato defined here short and not con nected to the following note but the end of the note is caused by the stopping of the bow s motion while still on the string instead of lifting the bow off the string at the end This articulation has a distinctive but subtle noise at the end of each note e Pizzicato is a style where the finger plucks the string pizz arco and the bow does not touch the string The opposite of pizzicato is arco e Repetitions are notes where the same note was played immediately before it and the string is still vibrating at the time of the new attack Because this vibration can affect the attack of the
42. ange Power Sys 1stVns 2ndVns Violas Celli Basses t Legato BC Slur Port vM y 58 Legato BC Slur VV VU 58 Legato BC Slower Vo v v v wv y Abbreviations from the various Legato folders above BC Bow Change Port Portamento v both regular and Smooth versions are available see page 59 v Marcato attacks are available see page 59 vie Marcato and Staccato Slur attacks are available see page 59 LT Light meaning it uses fewer computer resources i This folder does not exist for the Basses T This folder is called 08 Legato Slur Powerful System for the Basses instead of 09 Chapter 4 Instruments Articulations and Keyswitches 40 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS Instrument Types The following paragraphs explain some of the various types of instruments ewi files available in Hollywood Strings The principles described here apply across all sections from 1st Violins to Basses 01 Long The instrument types in this folder include e Sustain e D tach e Flautando e Harmonics The first two are available in all 5 orchestral sections the last two only in the 2nd Violins All of them except for D tach can be held indefinitely D tach The musical term D tach means detached Notes played in this style do not have a legato connection to the following note The samples are longer than staccato notes but come to a well defined end unlike the S
43. aph under the heading 03 Short Tight starting on page 46 for a description of how the two sets of instruments differ Chapter 4 Instruments Articulations and Keyswitches 49 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS 05 Effects The instruments in this folder fall into several types e runs both pre recorded and playable tremolos trills repetitions sul ponticello Pre recorded Runs Only 3 sections include pre recorded runs e ist Violins e Violas Celli Use the runs in the 1st Violins if you need them for the 2nd Violin part And such very fast runs are less characteristic of writing for Basses than for the higher sections Hollywood Strings includes a large variety of runs The various runs in the Pre Recorded Runs subfolder are scales that were played and sampled during the recording sessions you hear the entire run within a sample In each case the length of the run is one oc tave but otherwise there is great variety in what was sampled These various runs can be grouped according to several parameters e direction up down or both e scale chromatic major minor or whole tone e control keyswitch Mod Wheel keyboard split or none Direction The name of the instrument includes Up or Dn or some combination to specify what is included Those that list both directions in the name include a means for the user to specify Up or Down see below for details The MIDI note you play is the lowest note
44. art time e Detune the sample a few cents hundredths of a semitone higher or lower This variability gives the sound a more human less robotic feel After all what human instrumentalist plays every note exactly on pitch and at exactly the notated time The producers have selected which of these three approaches will be used for each ar ticulation file and how much variability to allow to achieve the most realistic behavior That is some patches randomly use all three approaches while others may use only one or two of them Note that Repetition scripts do not have the equivalent of the Round Robin Reset button to ensure an identical sound every time the same track is bounced to audio The random ness of the results is a feature You need to decide how important exact repeatability is when selecting either a round robin patch or the Repetition script The Articulations Control and Keyswitches In the center of the Player view is a control that lists the ar ticulations available in the current window Often this list is short containing only the one articulation given in the instru ment name and perhaps its release trails on a separate line The image at the right shows the control for the 2nd Violins Flautando instrument Flaut Release When the current instrument file includes a keyswitch the list of articulations is much longer The image at the left shows the control that contains 7 articulations and their 7 release
45. ato instruments e the sustained notes in playable runs and also instruments where you can move between 2 or more short articulations as in the MOD COMBOS folders The only real reason not to use cross fade instruments as often as they d be useful in your projects is that they use significantly more of your computer s resources For example the instruments in the O2 Long Powerful System folder are there because each one uses cross fades with 13 simultaneous voices for each note 8 voices for the Basses The instrument responds to both the Mod Wheel to affect the depth of the vibrato and independently CC 11 to affect the loudness And at any one time many of those voices are playing silently but still using computer resources Chapter 5 Orchestral Technique 75 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS By contrast one of the smaller instruments in the O1 Long folder e ist Violins NV NV VB MV RR ewi still uses a cross fade but plays only 4 simultaneous voices This patch gets away with fewer voices because it links loudness and depth of vibrato the louder you play by mov ing up the Mod Wheel the more prominent the vibrato The point is that in Hollywood Strings even the smaller instruments might be using cross fades just with fewer concur rent voices Achieving a Legato Sound There are two different technologies available in Symphonic Orchestra for achieving a legato sound e the instruments in any of the Legato fol
46. ccato Runs gt Spiccato Runs Smooth 06 Keyswitch 1stVns 2ndVns Violas Celli Basses 54 Sustained KS V4 V4 4 4 4 55 07 Legato Slur Portamento 1stVns 2ndVns Violas Celli Basses 56 Legato Port LT 12 Y Y Y v Legato Port LT 6 yM vM VM yM Legato Slur Port LT 12 Y 4 v v Legato Slur Port LT 6 vM v XM vM continued NSISISI SISISISISISISISISISISISISISISISIS NSI SISI SISISISISISISISISISISISISISISISIS NSIS S SISISISISISISISISISISIS V lt lt V Chapter 4 Instruments Articulations Keyswitches 39 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS INSTRUMENT OVERVIEW INDIVIDUAL SECTIONS Page Legato Slur LT 12 Y Y Y 4 Legato Slur LT 6 12 yM v12 y 2 Legato Slur LT 3 Y Y Y Legato Slur LT 7 yl Legato Slur Slower LT 7 Legato Slur LT 3 Y 08 Legato Bow Change 1stVns 2ndVns Violas Celli Basses t Leg BC Slur Port LT 12 v Y V4 Leg BC Slur Port LT 6 1 vM VM yM Legato BC Slur LT 12 4 Y Y Y Legato BC Slur LT 6 vM yM VM v12 Legato BC LT 12 Y Y Y Y Legato BC LT 6 yM yM yM v12 Legato BC RR LT 12 v Y Y V4 Legato BC RR LT 6 vM vM 12 12 09 Legato Slur Port Power Sys 1stVns 2ndVns Violas Celli Basses T 56 Legato Port V1 v VM oy Legato Port Fast Y Y v Legato Slur Port VM V ya Legato Slur Port Fast Y Y Y Y Legato Slur VV y yn VI v Bg Legato Slur Slower Y vi v Bg 10 Legato Bow Ch
47. claimers for such material are contained in the online electronic documentation for the EASTWEST SOFTWARE and your use of such material is governed by their respective terms License Agreement License 6
48. ct which type of articulation plays back Note that in general short articulations do not include release trails Pizzicato Pizzicato is the act of plucking one or more strings at a time to create the characteristic sound Although the sound is very brief it can have the power to cut through the loudest of orchestrations All 5 sections include a Pizzicato instrument In each case it is a round robin instrument with either 2 or 4 distinct samples for each note See the table above or the instrument names for example RRx4 to see how many distinct samples are in each round robin Bart k Pizzicato In this articulation the string is pulled away from the fingerboard and released so that it snaps back and strikes the fingerboard The sound incorporates pitched as well as non pitched percussive elements All sections except the 2nd Violins include this instrument If you need a Bart k piz zicato sound in the 2nd Violins part use the instrument from the 1st Violins the sound is so percussive and short that no one will know which section played the notes This is a round robin instrument with 2 distinct samples for each note Ricochet This articulations also known as Jet is played by throwing the bow onto the string in a way that causes it to bounce on and off the string several times Within a single MIDI note you can hear the same note played about 3 or 4 times in rapid succession This is a Round Robin instrument with 2 s
49. d this extra power because they stream more samples into RAM and play more concurrent voices Chapter 4 Instruments Articulations and Keyswitches 34 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS e Tight and Loose refer to the immediacy of the attack the start of each note Those instruments in the 03 Short Tight folder eliminate a few milliseconds from the very start of the recorded note giving the playback a punchier sound that works well in faster music Those in the O4 Short Loose folder include the whole recorded attack and therefore sound more natural in slower music The 11 Legacy folder is described in more detail below starting on page 36 Note on Dynamics in Hollywood Strings Instruments As discussed in multiple places within EastWest manuals there are several ways you can affect how loudly an instrument is playing MIDI Velocity e Volume CC 7 e Expression CC 11 e the Mod Wheel CC 1 Hollywood Strings includes a lot of instruments that rely on cross fading between sam ples instead of selecting which sample to play based on the MIDI Velocity parameter of each note And these cross fades can be controlled by the Mod Wheel or CC 11 or both at once Such an approach gives the composer much more in the way of continu ous control over both the loudness and the timbre But this control comes with a price greater use of the computer s resources especially the RAM and the processors As is mentioned in some of the instr
50. d to be the most detailed collection of string orchestra instruments ever assembled And with their long history of creating virtual instruments writing and scoring the music for hundreds of actual Hollywood trailers and films co producers Doug Rogers Nick Phoenix and Thomas Bergersen already understood what was needed to create the authentic Hollywood sound Another factor in defining the sound of this library is that it was recorded in EastWest Studio 1 formerly Western Recorders and then Cello Studios The recordings created in this building have for decades received more engineering awards than any other studio Producers Doug Rogers Nick Phoenix and Thomas Bergensen with 2nd from left Sound Engineer Shawn Murphy The combination of the right producers an actual Hollywood recording studio the best mics and other recording hardware available and string players familiar with the Holly wood sound all came together to capture the authentic sound you can hear in this virtual instrument When designing this library the producers decided to take advantage of the recent ad vances in computer technology that make possible instruments of greater complexity to achieve more realistic results than libraries of even two years ago For example for over Chapter 2 Quantum Leap Hollywood Strings An Overview 11 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS 20 years libraries have been recording multiple dynamics for each articulation and lay
51. de for Finger Position All patches that include KSFP in the name respond to MIDI control code 70 for speci fying which finger position you want The following table identifies the range for specify ing each string As always note that not all strings are available for every note so these ranges are just a guideline See the tables on the following pages for details about which strings are available for each note within the range of each instrumental section RANGES FOR MIDI CC 70 0 38 Finger Position 1 39 76 Finger Position 2 71 114 Finger Position 3 115 127 Finger Position 4 Using Keyswitches for Finger Position The instruments that include KSFP in the name allow you to change the finger position not only with the knob or MIDI control code but also with keyswitch notes The lowest of the 4 keyswitches CO sets the finger position to 1 causing the note to be played as far away from the bridge as possible And the highest keyswitch D O sets the finger posi tion to 4 for the warmer sound If you decide to use any combination of keyswitch notes knob and control code then PLAY will use whichever finger position was set last by any means In fact no matter how you change the string number you will see the Finger Position knob and the key switch note in the on screen keyboard change as well Chapter 3 The Quantum Leap Hollywood Strings User Interface 19 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS Details The
52. ders e the Legato and Portamento scripts The Legato instruments in Hollywood Strings include recordings of live musicians play ing legato transitions of up to an octave both upward and downward The PLAY engine combines these seamlessly with other notes to create very convincing legato passages These legato transitions are heard not only in instruments you might use for flowing le gato phrases but also in the playable runs that are intended for very fast passage work And you have control over what kinds of legato you want to hear when using instruments from the Legato folders e Bow Change legato samples the bow reversing direction without leaving the string e Slur legato provide a bit of the pitch slide between notes in a phrase without you hear ing the slide up or down the whole interval e Portamento legato lets you hear most or all of the continuous pitch slide between the two notes Use the legato instruments when you want a convincing legato sound in your phrases and you don t need some other articulation to predominate The individual legato instru ments are described starting on page 56 The Legato and Portamento scripts can simulate legato transitions with scripts There fore they are useful when you want a touch of legato sound between notes for some other articulation such as between consecutive trills or marcato notes See more about these scripts where Performance scripts are described such as page 69 Controlli
53. e 58 The intent of these patches is to provide a range of notes that can play a legato melody with the rest of the string orchestra providing a sustained accompaniment Sus 1st Violins Legato Selecting this patch in the Browser opens a Sustained instrument for the Violas Celli and Basses The 4th instrument is e lst Violins Legato Slur LT 6 Sus 2nd Violins Legato Selecting this patch opens the same instruments as listed above except that instead of a legato 1st Violins section the 4th instrument is e 2nd Violins Legato Slur LT 6 Sus Violoncelli Legato This patch takes a different approach from the other two in this section In order to give the Celli more of a range there is no Violas section the Celli play notes up to B3 And the 2nd Violins start on the next note up C4 Also note that there is no Basses instru ment in this option the bottom playable note is the C1 at the bottom of the cello range The legato instrument is e Celli Legato Slur LT 6 The Quick Start Instruments The Quick Start instruments are a folder of patches from all sections 1st Violins down to Basses that are designed to load quickly and use less of the Computer resources than the similar patches in the other folders You might use these instruments e f you re using a computer with the minimum of required RAM and you have problems loading the larger instruments e f you re doing a quick sketch and are not worried about getting the
54. e accent by adjusting the dynamic level of the various components in the Articulations control in the Player view The image at the left shows the loudness of the Marcato accent increased by the maximum amount 12 dB relative to the other components of the note Or you can turn it off temporarily with the Active checkbox in order to see whether you like the accent at all In the 7 Legato folder for all sections except the Basses these versions with the start of phrase accents are available on the various Legato 6 LT instruments not on the Legato 12 LT instruments The Basses have a Marcato accent but no Slur Staccato accent on both the Legato Slur LT 7 patch and the Legato Slur Slower LT 7 patch In the 8 Legato Powerful System folder for all sections except the basses these versions with the start of phrase accents are available on some of the various Legato instruments but never the Smooth instruments The Basses have a Marcato accent but no Slur Staccato accent on both the Legato Slur patch and the Legato Slur Slower patch Legato Bow Change 08 basic and 10 Powerful System These two folders which are available only in the Diamond Edition contain the legato patches that include bow change either on its own or in combination with slur legato and or portamento legato In earlier versions of Hollywood Strings these patches were in Chapter 4 Instruments Articulations and Keyswitches 59 EASTWEST QUANTUM LEAP HOLLYWOOD STR
55. e data to PLAY In a sequencer you can draw a short sloped envelope for each controller before the first notes This advice applies to the Mod Wheel CC 1 CC 7 CC 11 CC 22 and any other Control Codes in your project Keyswitch Instruments Sometimes one instrument needs to play different articulations within a single phrase For example some of the notes might best be played legato and others staccato While it s possible to put all the staccato notes in one MIDI track all the legato notes in another track and then assign a staccato instrument to the first track and a legato instrument to the sec ond track there are many reasons that s awkward Keyswitch instruments can of ten though not always simplify the work l dre stacca gt N umm C2 L E p EE Lm Ci Em L co La Assume a hypothetical keyswitch file that includes these notes among the switches e DO assigned to legato e GO assigned to staccato up bow e G 0 assigned to staccato down bow Then you can set up your tracks to look like the diagram on the previous page This draw ing above is of a Piano Roll a view available in most sequencers Chapter 5 Orchestral Technique 69 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS The short notes at the bottom are the keyswitches They are below the range of the in strument so they do not make any sound Notice that thes
56. e notes are slightly before the note they are intended to affect The first note in the melody an is preceded by the note that means staccato up bow the very short GO near the beginning Then before the B flat plays there s a D near the bottom that means play the next note s legato That s followed by several notes that alternate between staccato up bow and staccato down bow The second D near the bottom causes not only the G above it to play legato but also the first 4 D s in a row A keyswitch remains in effect until another keyswitch is set in this case the final GO stops the legato and causes the last D and G to play staccato up bow The exact position in time and the duration of the keyswitches are not important And their note off events are ignored Just make sure the start of the keyswitch is before the first note it is supposed to affect but after the start of the last note of the previous articulation if any Try to work with these collections when you can but sometimes you have to break a musical line across two separate MIDI channels and assign a different articulation to each track Creating a Soundscape Whether listening to an orchestra live on a stage or from a stereo recording we re all used to hearing the sounds of the various instruments coming at us from different direc tions In a traditional symphonic layout for the strings we expect the violins to be on our left and the cellos and bas
57. ected sound for notes in a continu ous phrase The scripts themselves are not modifiable by the user but important pa rameters can be adjusted using MIDI control codes See details of how to use the control codes in the descriptions that follow Goran Cassa san In order for script to actively affect the notes in an articulation file the script must be activated in the PLAY user interface The image above shows the Legato script turned off and the other two scripts turned on In addition the appropriate MIDI Control Code must not be turned Off that means if MIDI values are being generated for the On Off code on this channel as in the table below they must currently be in the range 64 to 127 if MIDI CC values are not being generated the Control Code is considered On as long as the light in the user interface is On The effect of engaging the Portamento or Legato effect is subtle The goal is the sound of smooth connected playing and not anything so pronounced that it will draw attention to the effect itself These two scripts share many features in the ways they affect the sound that is the Legato script includes a small portamento component and vice versa MIDI Control Codes These MIDI values can be controlled in standalone mode by adjusting the controls knobs or sliders on a control surface or MIDI keyboard When run as a plug in inside a se quencer or other host you can create a controller envelope
58. ent The sound changes for any given note when played on different strings It is theoretically possible to play some notes in an instrument s mid range in up to 4 different ways ignor ing harmonics In practice most string players use two or occasionally a third finger positions in most cases The Hollywood Strings virtual instrument gives you some of that control providing the two most common options Chapter 3 The Quantum Leap Hollywood Strings User Interface 18 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS Of course because not all notes can be played on all 4 strings the Finger Position value you enter is only a guideline of the sound you re looking for In general notes played on shorter string segments that is with the finger position closer to the bridge have a warmer and more emotional sound So this knob can affect that quality in the sound you re generating Note that finger position settings do not apply to all articulations only those in which the bow moves across the string in a long movement Those articulations that respond to finger position controls include KSFP Key Switch Finger Position in the name And those that include 4th pos in the name do not contain such a capability but instead always play notes in the 4th position nearest to the bridge where possible for the warmer and more emotional sound And finally note that the Basses contain no patches with KSFP in the name Using a MIDI Control Co
59. er ing them to capture the different timbres heard at different dynamic levels These librar ies usually used the MIDI Velocity parameter to select which layer to play back While this approach achieved excellent results it meant that typically 2 to 5 distinct layers were available and timbre could not change mid note Those libraries would use cross fades for small number of patches where mid note changes were beneficial But they kept the number of those cross fades small to prevent their greater use of the computer s memory from becoming overwhelming In Hollywood Strings the producers greatly expanded the use of cross fades both in their numbers and in how many concurrent voices participate in the cross fades within a given patch This approach results in instruments that capture the way string instruments can vary the sound during a crescendo or swell or as the depth of vibrato changes like a live musi cian playing an acoustic instrument Studio 1 at EastWest Studios during setup for the Hollywood Strings recording sessions The EastWest sample player software known as PLAY had to undergo a few improve ments in version 2 0 to make these larger instruments possible especially to improve the efficiency of the software when loading and playing back large numbers of samples in a single instrument When all these factors come together they create a virtual instrument of unparalleled detail and power With almost 2 900 instruments
60. ereo Double e the graphical representation of the Envelope Performance There are six buttons grouped together in the Per PERFORMANCE formance section together with the Finger Position knob They include three buttons for turning on and off scripts specific to Hollywood Strings that control performance parameters e Portamento e Repetition e Legato A fourth button turns on the sound of e Con Sordino A fifth button lights up to show that one or more of the hidden scripts are in effect for this instrument and the button should not be turned off e Other The sixth button in the group Round Robin Reset is described in its own section below See the section on Performance Scripts starting on page 26 for information on how to use the three scripts that have user modifiable parameters Portamento Legato and Repetition You can also read there about using MIDI control codes to turn these scripts on and off When you first open an articulation there are default settings On or Off for each of these three scripts as chosen by the EastWest sound designers If you want a different set of defaults you will need to save the ewi file that way and load your new version when you need it Legato Button Legato is the style of playing notes in a phrase with no significant silence between them in order to produce a smooth and flowing melodic line Use this button to turn on a legato effect for the articulation This script ba
61. erves all rights not expressly granted to you You own the media on which EASTWEST SOFTWARE is recorded but EASTWEST and or EASTWEST s licensor s retain ownership of the EAST WEST SOFTWARE itself The terms of this License will govern any EASTWEST SOFT WARE upgrades provided by EASTWEST that replace and or supplement the original EASTWEST SOFTWARE unless such upgrade is accompanied by a separate license in which case the terms of that license will govern Title and intellectual property rights in and to any content displayed by or accessed through the EASTWEST SOFTWARE be longs to the respective content owner Such content may be protected by copyright or other intellectual property laws and treaties and may be subject to terms of use of the third party providing such content License Agreement License 1 EASTWEST END USER LICENSE AGREEMENT 2 Permitted License Uses and Restrictions You are granted a limited non exclusive license to use the EASTWEST SOFTARE as follows subject to all other terms and condi tions of this License You may install and use one copy of the EASTWEST SOFTWARE on one computer You will be required to purchase authorize and use a Pace iLok security key not included or other security protection EASTWEST includes to access the EASTWEST SOFTWARE You may not make the EASTWEST SOFTWARE available over a network where it could be used by multiple computers or users at the same time You may make one copy of the EA
62. ess to very soft dynamics This feature is described in detail starting on page 35 In the next release after 1 0 2 the versions of these instruments without Niente were moved to the 11 Legacy folder They are retained to provide backward compatibility for projects that already include these older instruments but EastWest recommends using the newer instruments those ending in Ni in all new projects Full Strings Each instrument in this folder covers the full range of the string orchestra in what is in effect a single patch PLAY does this by loading four or more instrument types at once together called a multi instrument or just multi and assigning the MIDI channel to Omni which means that they all respond to MIDI data on all channels This approach allows you to play the full string orchestra from a single MIDI keyboard If you want to change all the channels to a specific number for example all to channel 3 you can do so The table below lists the Full String instruments which are divided into 2 folders Long and Short A checkmark in a cell means that an instrument from the specified section is opened when you choose this multi instrument And also e CL in the cell means that in addition the Col Legno patch is opened for this section e Slur means that a slur is included only for this section INSTRUMENT OVERVIEW FULL STRINGS Long 1stVns 2ndVns Violas Celli Basses Sus 1st Violins Legato v v v S
63. ets of alternating samples Chapter 4 Instruments Articulations and Keyswitches 47 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS Col Legno With this style of playing the bow strikes the string with the wood instead of the horse hair and immediately bounces off This causes a percussive and distinctive sound of short duration Col Legno is Italian for with the wood This is always a Round Robin instrument with 4 or 2 sets of samples in rotation Marcato When used in a score the term marcato indicates that every note is to be accented This articulation contains notes of a short duration that begin with a strong accent This is a Round Robin instrument with 4 sets of samples in rotation Note that the 2nd Violins and the Basses include in addition instruments called Mar cato Long with the same strong attack but a slightly longer duration Spiccato In this style of playing notes of very short duration are created by bouncing the bow so that it is in contact with the string for a very short time In Hollywood Strings Spiccato is available in two versions e plain Spiccato e Spiccato in which the Mod Wheel can be used to change to Marcato In the patch Spiccato Marcato MOD found in the MOD COMBOS subfolder PLAY cross fades between spiccato and marcato samples to achieve a smooth transition the further up you push the Mod Wheel or increase the value of Control Code 1 the more the notes have a marcato sound Thi
64. etween Chapter 4 Instruments Articulations and Keyswitches 57 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS notes in different polyphonic voices If so one remedy is to move those two voices to separate MIDI tracks Portamento and Slur Legatos In both portamento legato and slur legato you hear the pitch start to move in the direc tion of the next note as the first note is ending The difference is e With portamento legato the pitch slides all the way up or down to the next note pass ing very quickly over all the intervening notes e With slur legato the pitch jumps over most of the intervening notes with only the start and end of the slide heard in the transition Note that Portamento is sometimes available in two speeds normal and fast You may decide to use one or the other based on the tempo of the piece or the effect you want to achieve Those legato patches with Portamento or Slur in the name include a sampled slide from one note to the next This slide in pitch between the two notes only occurs to a maximum of one octave For example if two consecutive notes in a phrase are A4 and A5 the portamento is played but from A4 to 5 it is not For any legato patch to generate a slur or portamento two notes must have no significant time gap between the end of one note and the start of the next As a consequence of this rule as expected the first note of a phrase has no legato effect at the start of the note Simple Non c
65. f the instrument is playing 6 voices only 2 pp vibrato and mf vibrato are cur rently audible and 4 are playing silently If you have a powerful computer this inaudible playback of samples should not be a problem With lesser hardware you may encounter problems suggesting you need to use less taxing instruments or buy more capable hardware As a rule more concurrent voices provide more realistic real time control over timbre at all dynamic levels and all depths of vibrato Such real time control meaning the ability to change loudness timbre and vibrato continuously and mid note allows you to shape the performance the way a live musician with an acoustic instrument does breathing life into the musical lines This capability is most noticeable in slow passages and long held notes Marcato Sustain This instrument type there s one in each orchestral section plays a marcato sample in addition to the multiple sustain samples The marcato sample ends relatively quickly the sustain samples are looped so they continue to play as long as the note is held This combination provides extra power at the start of the note For all the sections except the Basses the name of the instrument is Marc Sus 9 RR 4th pos The digit 9 indicates that 9 sustain samples start playing at the beginning e 3 dynamic levels for non vibrato e 3 dynamic levels for vibrato e 3 dynamic levels for molto vibrato In addition the marcato sample plays for a shor
66. f you create at least as many instances of PLAY as there are cores in the CPU the sequencer Chapter 5 Orchestral Technique 68 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS can assign the instances across all the cores which most likely means you can open more instruments and play them back without problems As a general rule if you re using more PLAY instruments than you have cores in your computer then it s best to open at least as many instances as you have cores Let s say you have a 4 core computer and are planning to open 10 PLAY instruments You could open 4 instances of PLAY and spread out the patches 3 3 2 and 2 per instance Or you could open 10 instances with one instrument each Or some arrangement in between The exact arrangement that s best for you depends on which instruments how consis tently each is heard through the piece the complexity of the instruments cross fades are often using more CPU resources at once than other patches and other factors If you come up with an arrangement in which each instance is using about the same number of voices as the other instances then you re likely using your instances efficiently Prepping the MIDI Controllers It is recommended that you tell PLAY what MIDI Control Codes to look for by sending some Control Code messages after loading the patches and before the first notes are played When playing live that can mean tweaking each of the knobs sliders and wheels enough to send som
67. f you want to include bow change legato look in folder O8 Legato Bow Change or 10 Legato Bow Change Powerful System One reason for separating the patches this way is that bow change legato is not included in the Gold Edition Note that the Basses include only 2 kinds of legato instruments e Legato Slur e Legato Slur Slower Chapter 4 Instruments Articulations and Keyswitches 56 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS Therefore the descriptions of other legato styles below apply to 1st and 2nd Violins Violas and Celli only The basic types of legato provided in Hollywood Strings are played with e Bow Change e Portamento Slur And some of the instruments include more than one of these techniques for example e Legato Slur Portamento e Legato Bow Change Slur Portamento Where faster and slower alternatives are available consider using the faster version at higher tempos and slower versions at lower tempos These options let you create lines that mimic what happens naturally with acoustic instruments Longer legato transitions let slow music breathe more Before discussing the various among the types of legato playing note that many of these instruments include many many samples For example the portamento legato samples for just the one note C4 in the 1st Violins are actually 24 different portamento samples 12 rising to CA from all notes within an octave below and another 12 descending There fore it can ofte
68. following tables starting on the next page and spread over 3 pages specify how the 4 positions on the Finger Position knob translate into actual string selection for each note in an instrument s range If you want to ensure that a specific note will be played on a specific string find the note name at the left side of the table Then scan across to determine which columns are shaded with the color of the string number you re looking for Remember that Middle C is named C3 in EastWest software For example in the 1st or 2nd Violins e f you want A 3 to be played on String 3 the green shading then you need to set the Finger Position knob to 1 or use keyswitch note CO e Or if you want that same A 3 played on String 2 the tan shading then you need to set the Finger Position knob to 2 3 or 4 or use keyswitch note C 0 DO or D 0 The actual values for the Violas and Celli are different from the Violins but the principle of how to read the tables is the same Note that an open string note is specified with the letter O in the tables The sound of an open string is significantly different from the same note played by articulating the string on the fingerboard so you will want to explicitly decide whether you prefer that sound or not and select the Finger Position accordingly In addition to the tables for each of the 3 sections where a Finger Position control is provided the same information is provided in traditional mu
69. h has one exception the Close microphones These samples were recorded with the stereo mics directly in front of each instrumental sec tion The Close mic articulation uses the Pan control to move the playback of those samples to the same perceived space as the Main Mid and Surround samples The diagram at the right shows the 4 microphone specific Pan controls for one of the Double Bass articu i lations The bass players sits on stage way to the audience s right This image shows the way the file opens with no user changes Note that the Main Mid and Surround Pan controls are in the center because those samples were recorded with the stereo mics centered at the center of the studio no panning adjustment is necessary The Pan con trol for the Close mics at the far left is turned to the right so that when all four sets of samples are played together the sound cues position the basses in a consistent location P The spread of the sections in Hollywood Strings is smaller than in Symphonic Orches tra If you want a wider feel you can pan the instruments a little to achieve that effect Note that the natural panning within the Hollywood Strings samples has one subtle feature that reverb plug ins do not offer correctly timed reflections from all surfaces To understand this concept consider a double bass player who is 5 meters from the wall to our right and 45 meters from the wall to our left We are seated half way between
70. h other virtual instruments from EastWest Quantum Leap so feel free to add in brass guitars percussion voices whatever you can imagine Most of the library contains instruments that capture the sound of the 5 string sections 1st Violins 2nd Violins Violas Celli and Basses playing in the multitude of articula tions strings are capable of There is also a folder where you can load up the entire string orchestra and play it at the keyboard in real time of this is described in detail later in this chapter The following pages include a table that lists each instrument in the Hollywood Strings library You might want to print out the pages containing this table as a reference A Glossary of Articulation Names Bart k pizzicato is a style of playing in which the string is pulled away from the finger board allowing it to snap back forcefully Col legno refers to the sound of hitting the strings with the wooden stick of the bow instead of the hair D tach which means separated in English refers to notes that do not have a legato connection to the next note in the phrase that is they come to a well defined stop before the start of the next note Flautando technique is the creation of ethereal flute like notes when playing with no vibrato near the fingerboard with the point of the bow are created when finger touches harmonic node on the string and the bow plays close to the bridge The im
71. harmonics are two octaves above the fundamental meaning that the lowest note to sound is G4 two octaves above the open G string G2 This instrument does not include control of finger position or vibrato not does it include round robin samples as do some instruments mentioned earlier in this section 02 Long Powerful System Important Note Instruments in this folder are designed for computers that meet or exceed the specifications for recommended systems Some of these instruments can load up to 1 GB of samples per mic position into the computer s memory In addition because of their size these patches may need to be used with fewer other instruments open If your computer has trouble rendering audio from these instruments use instruments in the O1 Long folder instead The Sus 13 instruments in this folder use the same mechanism as the Sus 6 and Sus 9 instruments in the O1 Long folder except that they play 13 voices simultaneously which provides more dynamic levels available as CC 11 changes as follows e 5 levels of loudness for non vibrato e 5 levels of loudness for vibrato e 3 levels of loudness for molto vibrato Of course you can play at any loudness you like as the number of sampled levels goes up in this case up to as many as 5 the timbre of the string sound changes more often as the dynamics change continuously from pp to ff giving you a more realistic sound The instruments for the Basses in this folder use an
72. hat includes the use of the EASTWEST SOFTWARE without the written consent of EASTWEST 4 Consent to Use of Data You agree that EASTWEST and its subsidiaries may collect and use technical and related information including but not limited to technical infor mation about your computer system and application software and peripherals that is gathered periodically to facilitate the provision of software updates security product support and other services to you if any related to the EASTWEST SOFTWARE and to verify compliance with the terms of this License EASTWEST may use this information as long as it is in a form that does not personally identify you to improve our products or to provide services or technologies to you 5 Termination This License is effective until terminated Your rights under this License will terminate automatically without notice from EASTWEST if you fail to comply with any term s of this License Upon the termination of this License you shall cease all use of the EASTWEST SOFTWARE and destroy all copies full or partial of the EASTWEST SOFTWARE 6 Limited Warranty on Media EASTWEST warrants the media on which the EASTWEST SOFTWARE is recorded and delivered by EASTWEST to be free from defects in materials License Agreement License 3 EASTWEST END USER LICENSE AGREEMENT and workmanship under normal use for a period of ninety 90 days from the date of the original purchase Your exclusive remedy under this
73. hem one instrument at a time from a MIDI keyboard or the data stored in a sequencer project See the description of the Settings dialog in the main PLAY System manual for more information about this articulation specific approach Stereo Double Controls This knob with its three buttons gives the user the option of using STEREO A exclusively the left stereo signal or right when Stereo is selected e from the Channel Source drop down For any other setting this con trol has no effect The knob lets the user determine the spread of the signals how far apart the ear per ceives the stereo channels to be A value of O brings the two channels together at the center unless the Pan knob positions the output differently and is the equivalent of turning off the controls with the button below the knob A value of 100 calls for the maximum spread available Select between the left and right signal with the L and R buttons respectively The Master Button and Pre Delay Knob in the Reverb Controls The common features of the Reverb Controls are explained in the main PLAY System manual but the Hollywood Strings user interface includes two feature not in all PLAY libraries Chapter 3 The Quantum Leap Hollywood Strings User Interface 24 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS The Master Button When this button is pressed and the On light is illuminated the Reverb for this instru ment applies to all the other instrume
74. ics which are a smaller version of a Decca tree po sitioned a little closer to the instruments so that more definition is captured without creating a close sound The V s and S s have been placed in the auditorium in this diagram to convey that they capture the full ambient sound of the room In the recording studio which has no audi torium they are placed around the studio at a distance from the instruments The D s the Divisi mics sit at the left and right of the sections to pick up only half the players from that section Microphone Hardware The microphones used to create the Main tracks were Chapter 5 Orchestral Technique 81 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS e Decca tree of Neumann M50s e Brauner VM1 KHE Klaus Heyne Edition outriggers The microphones used to create the Close tracks were e AKG C12 e Neumann U47 e Neumann U67 e Nordic Audio Labs NU 47 The microphones used to create the Mid tracks were e Neumann KMi e Neumann KM 254 e Sony C37A e Neumann U 47 Two separate sets of Surround mic samples were created for the Quantum Leap Holly wood Strings library You can switch between them with the use of the Vintage button in the lower right of the Microphones controls e The Standard set was created with modern equipment the Neumann KM 83 micro phones These mics are designed to create tracks with a contemporary sound e Press down the Vintage switch to invoke samples captured with the RCA44
75. indows that display CC7 CC11 and CC1 Mod Wheel information You will be editing these last two a lot so it s a good idea to make these windows easy to access Save your templates and you re ready to go Opening Multiple Instances of PLAY With the PLAY 2 software it s possible to open more than one instrument in each in stance you run and this is true whether running PLAY in standalone mode or within a host But there are often compelling reasons for spreading instruments across multiple instances An instance is each open window running PLAY So if for example you see exactly 3 PLAY windows inside your sequencer or on your desktop when running standalone then you have opened 3 instances The main reason for opening the PLAY software more than once especially when using PLAY as a plug in within a sequencer or other host is to be able to take full advantage of the multiple cores available in today s high end computers If for example your computer s CPU has 4 cores then each of the 4 cores can be independently running separate parts of the software each part called a thread Sequencers typically assign all the processing in any given instance of a plug in to a single core So in one case if you load all your instruments into a single instance of PLAY the work of running all those instruments will be restricted to a single core which is less efficient than spreading the work across all the cores But in another case i
76. ings The following table which extends over several pages lists the instrument files available in each of the 5 orchestral sections A check mark indicates that the section includes a ewi file as named at the left of the row This table does not explore the articulations available within each instrument file that level of detail is provided later in this chapter When one section does not include an instrument or articulation you re looking for you may be able to try one of the following approaches to get an approximation of the sound you want e Use that same patch from a different section You may be able to mask differences in timbre with the use of EQ and or by doubling with a different patch from the correct section e Use a similar patch from the correct instrument Then experiment with changing the AHDSR envelope and or other parameters to bring the sound more into line with the sound you want You may find that the sound is close enough to what you wanted in the first place that no one will notice especially in the middle of multi part writing The table below does not include instruments in the Full Strings group Those patches are describes in a separate section following this table The page numbers in the last col umn are hyperlinks click on any number when viewed on a screen to jump to that page Chapter 4 Instruments Articulations and Keyswitches 36 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS INSTRUMENT OVERVIEW IN
77. irst midi driven loops collection Dance Industrial He released the first library to include multiple dynamics followed by the first sample library to stream from hard disk an innovation that led to the detailed collections users expect today His recent productions are Symphonic Orchestra awarded a Keyboard Magazine Key Buy Award EQ Magazine Exceptional Quality Award Computer Music Magazine Perfor mance Award and G A N G Game Audio Network Guild Best Sound Library Award and Symphonic Choirs awarded Electronic Musician 2006 Editor s Choice Award G A N G Best Sound Library Award and Keyboard Magazine Key Buy Award Most recently his productions include Quantum Leap Pianos the most detailed virtual piano collection ever produced and Fab Four inspired by the sounds of the Beatles a M I P A Winner and judged the most innovative instrument by 100 music magazines Over the last decade he has partnered with producer composer Nick Phoenix and set up the Quantum Leap imprint a subsidiary of EastWest to produce high quality no com promise virtual instruments EastWest Quantum Leap virtual instruments are considered the best available and are in daily use by the who s who of the industry Chapter 1 Welcome 3 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS Producer Nick Phoenix Nick began scoring film trailers in 1994 To date he has scored or licensed music for the ad campaigns of over 1000 major motion pictures Star
78. isted starting on page 64 This folder was added in version 2 0 0 available in June 2011 If you do not see this folder in the Browser update to the latest version The Categories of Instruments For all five sections from 1st Violins to Basses but not the Full Strings the list of instru ments is divided into 11 categories In the Browser they appear as 11 separate folders e 01 Long e 02 Long Powerful System e 03 Short Tight e 04 Short Loose e 05 Effects 06 Keyswitches 07 Legato Slur Portamento e O8Legato Bow Change 09 Legato Slur Portamento Powerful System 10 Legato Bow Change Powerful System e 11 Legacy The number at the start of each category name is there to make sure this list always ap pears in this order within the Browser These categories appear as section headers with in the following table to help you find instrument files in the tables and in the Browser For many of these 11 folders the name clearly describes the kinds of articulations it includes The terms Powerful System Tight and Loose may not be immediately obvious e Powerful System refers to instruments that put a heavy load on the computer s re sources such as the amount of RAM memory access to the hard drive and use of the central processor s These instruments work best on computers with quad processors at least 8 GB of RAM and either a solid state drive or a fast hard drive at least 7200 rpm They nee
79. kinds of playing the library includes several patches that automatically alternate between up and down strokes these patches include Up Dn or RR in the name Chapter 4 Instruments Articulations and Keyswitches 32 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS The Table of the Instruments The sounds of each instrument are provided in the form of one or more instrument files with extension ewi in the Browser view often representing separate articulations Within some instrument files may be several articulations that can be selected in one of several ways e through the UI e with keyswitch notes e by moving the Mod Wheel Most of the rest of this chapter documents the instruments and articulations for this library The Orchestral Sections The Hollywood String orchestra like most large string ensembles comprises 5 sections e Ist Violins 2nd Violins Violas Celli Basses In the Browser view you can see 2 fold fi ers for each of these sections for example both Violas and Violas Divisi The first of these folders contains the many Violas instruments that are listed on the table later in this chapter Each instrument provides access to the 5 microphone po sitions described in a section starting on page 78 The second of these folders contains both Divisi and Divisi version of the same instruments These divisi instruments capture the sound of only the left chair or the right chair at each shared
80. l often be playing notes in some other pattern than alternating be tween up and down bows you may want to open the Down Bow and Up Bow instruments as well and use whichever one best serves your purpose in that part of the score Any Sustain Round Robin instrument uses the same samples as the other two bow directions combined so you are not loading any extra samples with this approach As with any round robin instrument that switches between identifiable alternatives you may want to have perfect control over which sample plays when Here are some points to consider e The first sample played in a session or after a round robin reset is an up bow If you want to start with a down bow consider playing a silent note first with whatever is controlling loudness for that patch all the way down The first note anyone hears will be a down bow e Likewise if you want two or more notes of the same bow direction consider adding a silent note to play the alternative you do not want to hear If you have many instances where you want to bypass the normal alternation or if you want to hear a legato con nection between the two audible notes then it is probably better to play those notes using an Up Bow patch or a Down Bow patch instead of the Round Robin patch Audio MIDI Streaming Network Overload Scripting Other Round Robin Reset Note Controller Reset On 32 Te e The round robin technology does not know whether you ve restarted the same
81. lations and Keyswitches 58 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS The behaviors described above are the default behaviors in which PLAY is using scripts to decide which samples to use If you want more control of which notes use Bow Change and which use the Slur or Portamento then click on the Other button in the Player view to turn it off then use MIDI Control Code 14 instead If CC14 is in the range 64 127 you will hear bow change samples in the range 0 63 the slur or portamento samples You can create a CC14 envelope in a sequencer or assign that MIDI Control Code to a slider or knob you plan to operate manually Smooth Instruments For those instruments with SM in the filename the legato transitions sound more smoothed out but at the expense of some expressiveness This sound is achieved with changes to both the start time and the envelope to reduce some of each note s attack This sound is most useful in slow legato passages Legato with Marcato or with Slur Staccato These instruments add a Marcato or Slur Staccato accent to notes that do not have a legato connection to the previous note That is you can use one of these patches when you want the first note of each legato phrase to automatically receive a slightly stronger attack The difference between the Marcato accent and the Slur Staccato attack is subtle so audition them both to see which works better in the style you want Note that you can change the strength of th
82. laws of the jurisdiction in which the EASTWEST SOFTWARE was obtained In particular but without limitation the EASTWEST SOFTWARE may not be exported or reexported a into any U S embargoed countries or b to anyone on the U S Treasury Department s list of Specially Designated Nationals or the U S Department of Commerce Denied Person s List or Entity List By using the EASTWEST SOFTWARE you represent and warrant that you are not located in any such country or on any such list You also agree that you will not use the EASTWEST SOFTWARE or any purposes prohibited by United States law including without limita tion the development design manufacture or production of missiles nuclear chemical or biological weapons 10 Government End Users The EASTWEST SOFTWARE and related documentation are Commercial Items as that term is defined at 48 C F R 2 101 consisting of Com mercial Computer Software and Commercial Computer Software Documentation as such terms are used in 48 C F R 12 212 or 48 C F R 227 7202 as applicable Consistent with 48 C F R 12 212 or 48 C F R 227 7202 1 through 227 7202 4 as applicable the Commercial Computer Software and Commercial Computer Software Documentation are being licensed to U S Government end users a only as Commercial Items and b with only those rights as are granted to all other end users pursuant to the terms and conditions herein Unpublished rights reserved under the copyright laws of
83. lay upward scales e Playing C4 plays a downward scale ending on C1 And all notes C4 to G6 play down ward scales If you need a run with a range shorter than an octave limit the length of the MIDI note so that it stops where you want it to Playable Runs Unlike the prerecorded runs the instruments in this folder allow you to perform runs by playing the notes The several instrument types use different approaches to achieve the natural sound of a run Repetition Runs Script This type of instrument uses a script to determine e whether the run is moving upward or downward and therefore direction of the slur e the time interval between notes to determine whether the notes should play legato The instrument then plays the appropriate sample to create the correct effect for each note When playing upward there s a slur from the lower note When playing downward there s a slur from the higher note For the first note in a run or after a gap there s no slur The behavior described in the last paragraph simulates the natural sound of a run on an acoustic instrument and is the result of running a script in PLAY If for any reason you want a different pattern of when to play the upward and downward samples in this instrument take the following steps Chapter 4 Instruments Articulations and Keyswitches 51 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS e Turn off the script in this instrument by clicking on the Other button in
84. lely by you E You may use any included EASTWEST SOFTWARE Audio Loops compositions that contain a combination of sound samples that can be repeated to form a continuous piece of music for a Production Music Library also known as stock music or library mu sic original compositions or soundtracks created entirely by you using the EASTWEST SOFTWARE that you in turn license as an original composition or soundtrack to third parties for use in film television radio or other media subject to the following terms and conditions 1 the Audio Loops must be used in a musical context with at least two other instruments that contribute significantly to the composition and 2 The entire Audio Loop cannot be left exposed at any time in the composition If you have any doubt a composition or soundtrack by you meets the foregoing criteria you may submit the composition to licensing eastwestsounds com for written approval Please do not send audio or MP3 files send us a link to your composition on your web server License Agreement License 2 EASTWEST END USER LICENSE AGREEMENT F You may not and you agree not to or to enable others to copy except as and only to the extent permitted in this License decompile reverse engineer disassemble attempt to derive the source code of decrypt modify or create derivative works of the EAST WEST SOFTWARE or any part thereof except as and only to the extent any foregoing restriction is prohibited by a
85. libraries e Intel or AMD quad core processor or higher running at a minimum of 2 66 GHz e 8 GB of RAM or more e a 64 bit operating system and a 64 bit host when running PLAY as a plug in Note that this is a recommended system and is more powerful than the minimum of what is required Important Note Hollywood Strings includes two folders of instruments that are designed for computers that meet or exceed the specifications for the recommended systems listed above Some of these instruments can load up to 1 GB of samples per mic position into the computer s memory In addition because of their size these patches may need to be used with fewer other instruments open Smaller versions of the instruments are available for systems with more limited resources See pages 46 and 56 for details Solid State Drives There is no doubt solid state drives SSDs are a revolution for storing and streaming samples While currently more expensive than traditional hard drives the seek and re trieval times are almost instantaneous which means you may be able to create even larger projects and or to use lower latencies without needing workarounds to avoid dis ruption of the audio output For the largest instruments in Hollywood Strings SSDs may be your only option light programs are provided for other users and the number of mic positions that can be accessed simultaneously may also be dependent on solid state drives Installing 2 or more smaller SSD
86. lins Marc Shrt RRx4 ewi e Ist Violins Spic RRx9 ewi Therefore if you open the first instrument and either of the two or even both you re not loading any extra samples beside what is in the first one as long as they re in the same instance of PLAY Likewise keyswitches load the same patches as the referenced individual patches Therefore if you open both it s best to open them in the same instance Once you have decided on what patches will go inside your template and have made sure they will all fit into your available RAM you should load everything and save the setup for each instance of PLAY to its own ewi file or if you have multiple instances of PLAY loaded inside a sequencing program or VST host it is as simple as saving the sequence or VST host file This will remember everything inside If you are using multiple comput ers make sure you have created a track in your sequence for every program on every computer One last thing to consider when deciding which computer will load which sounds is the amount of work each computer will have to do Make sure to spread the sounds that you use most onto different computers so one computer doesn t end up carrying a majority of the load Chapter 5 Orchestral Technique 67 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS Remember that if you re running Hollywood Strings on more than one computer concur rently you will need an iLok security key and a license for each computer The ne
87. most perfect orchestral sound such as when playing with ideas during the composing phase Your project will load faster and get you into your work right away These are mostly patches with only 2 dynamic layers They all have the Mid microphone loaded by default There are some instruments that only appear in the _HS Quick Start folder while others are doubles from the library that differ only in having the Mid mic on by default Chapter 4 Instruments Articulations and Keyswitches 63 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS Those instrument names with an asterisk are newly created for this folder But the principles are the same as in other similarly named patches so read about how to use them in the appropriate sections Those with no asterisk are identical to patches in other folders except that the Mid microphone is loaded by default The following table lists the instruments in this folder check mark means that the instrument is included for the section name at the top of the column INSTRUMENT OVERVIEW QUICK START INSTRUMENTS 1stVns 2ndVns Violas Celli Basses Legato Slur LT 3 Ni Y Y Y 4 Pizzicato 3 RRx4 Y Y V4 Y V4 Slur Runs LT v Spiccato Marcato MOD Y Y Y Y 4 Staccato Slur Sustain 2 NV VB V4 4 Y Y Y Sustain 2 VB VB Y 4 Y Y Y Tremolo 2 Y 4 Y Y Y Trill 2 HT WT v v 4 v Flautando v Harmonics Col Legno RRx4 Trill 2 HT The Template PRO Instruments The Template PRO Instrume
88. move individual instruments forward or backward Chapter 5 Orchestral Technique 71 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS 2 Because sound travels at a fixed speed of approximately 340 meters per second 1100 feet per second the ear uses very small time delays to judge relative distance If two violins play pizzicato notes simultaneously and one is 15 meters 50 feet further away the note from the more distant violin arrives 0 044 seconds later That s about one twenty third of a second a short time but noticeable to the ear It s very easy in a sequencer to delay a track by a specific time either with a Delay plug in or by shifting the notes in the sequencer s Piano Roll view and thereby achieve this effect 3 As discussed in the section covering the 5 mic positions the farther you are from an instrument in a concert hall the more the natural reverberation of the hall contributes to what you notice You still hear the echoes from the walls when you re close by you only notice them less because of how loud the instrument is It s harder to hear the crinkle of a cough drop wrapper standing near a roaring jet engine than in a hushed concert hall even though the wrapper makes the same sound This presence of the sound is another distance clue Mixing in more of the Close samples for an instrument makes it seem closer to the listener By combining all three principles you can achieve quite convincing front back posi tioning in y
89. music stand and they are only available with the Close mics For more about Divisi instruments see page 77 The Quick Start Instruments Near the bottom of the list of instruments Violins to Basses is a folder named Quick Start HS It contains several instruments from each section that are designed to load quickly and use less of the computer resources than many of the other patches This folder is described in more detail and the instruments are listed starting on page 63 This folder was added in Diamond s version 1 0 6 and Gold s version 1 0 1 both avail able in March 2011 If you do not see this folder in the Browser update to the latest version Chapter 4 Instruments Articulations and Keyswitches 33 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS The Template PRO Instruments Near the bottom of the list of instruments Violins to Basses is a folder named Tem plate PRO It contains duplicates of several instruments from most of the other folders This list includes a recommended selection of articulations when first creating a tem plate especially on a semi powerful computer While many users will have other favorites or requirements this is a good starting point especially for new users Those with a more modest system or a top of the line computer may choose to start with instruments more in line with the capabilities of their own hardware This folder is described in more detail and the instruments are l
90. n Bow D 0 D tach Up Bow EO Tremolo FO Trill Half Tone F 0 Trill Whole Tone 2nd Violins e CO Sustain Down Bow e C 0 Sustain Up Bow e DO D tach Down Bow e D O D tach Up Bow e EO Tremolo e FO Half Tone e F O Trill Whole Tone e GO Flautando e G 0 Harmonics Violas e CO Sustain Down Bow C 0 Sustain Up Bow DO D tach Down Bow D 0 D tach Up Bow EO Tremolo FO Trill Half Tone F 0 Trill Whole Tone e GO Sul Ponticello Celli e CO Sustain Down Bow e C 0 Sustain Up Bow e DO D tach Down Bow e D O D tach Up Bow e EO Tremolo e FO Trill Half Tone e F O Trill Whole Tone Chapter 4 Instruments Articulations and Keyswitches 55 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS Basses C4 Sustain Down Bow C 4 Sustain Up Bow D4 D tach Down Bow D 4 D tach Up Bow E4 Tremolo F4 Trill Half Tone Just as with the Sustain patches in the O1 Long folder the two Sustain articulations in the keyswitches CO and C O respond to the Mod Wheel for specifying the depth of the vibrato the more you push up the Mod Wheel the more vibrato you will hear The other articulations within the keyswitch file do not have this variable vibrato Note that the Down Bow and Up Bow articulations are on separate keyswitch notes to effect an alternation between up and down bow notes you need to use a keyswitch note every time you want the bow direction to change There is no automatic alternation as the
91. n mix the divisi Close mics and the other non divisi mics without problem because all the samples were recorded simultaneously in the studio and are phase locked Chapter 5 Orchestral Technique 24 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS Directing the Audio Output The output from PLAY is one or more stereo audio signals The image at the right shows 9 stereo pairs of outputs in the drop down list from the Master Output control Each instance of PLAY has its own outputs separate from those of every other instance F First Synth Audio Output If you are using PLAY as a plug in in a host you can usually Al Synth Audio Outputs Si specify whether you want the output audio to be captured in a CREME Moro single track or maintained as separate tracks The image at the left shows how one sequencer Sonar gives you a choice The first checkbox creates a single track to hold all the audio output with the assumption it will be the first stereo pair 1 2 The second checkbox creates 9 audio tracks one for each of the stereo pairs in the drop down list shown at the right The third creates 18 mono tracks in case you want to keep the left and right tracks separate See the documentation for your se quencer to learn how that selection is made in the host software you use If you ve selected to set up a single track to hold all the audio output from one instance of PLAY and you open multiple instruments in this instance then all the in
92. n take significantly longer on some computers to open one of these instru ments from the Browser than other smaller instruments Round Robin Legato Instruments For every instrument in the folder O7 Legato Slur and Portamento there is a correspond ing version with RR in the name These are Round Robin versions that alternate be tween an Up Bow sample and a Down Bow sample The non RR versions use only Down Bow samples When using these Round Robin patches consider using the Round Robin Reset MIDI event to force a Down Bow start to the alternation in each new section of your piece where you use one of these patches This precaution ensures consistency of playback Note that these RR instruments are not listed separately in the table above just know that every instrument in this folder as well as the O8 Legato Bow Change folder also has a Round Robin version Monophonic Behavior in Legato Instruments By default all legato instruments are monophonic By allowing only one note to play at a time PLAY makes sure that there is no ambiguity about what two notes should have a legato transition between them It is possible to turn off the monophonic behavior with MIDI Control Code 22 When in the top half of its range 64 127 the controller preserves the default behavior But whenever CC 22 is in the range 0 63 polyphonic behavior is turned on You do need to listen to the output carefully to see whether there are unwanted legato glides b
93. ned to capture all the players on the left in one mic and all those on the right in a different mic See the section on Divisi Instruments starting on page 77 Microphone Placement The schematic at the right gives you an idea of where the various mics capture their sound but in a diagram of a typical concert hall The semicircular area at the top is where the or chestra sits The rest of the diagram is where the audience would sit but is not there in the actual EastWest Studio where Hollywood Strings was recorded Note that this is not an accurate map of where the mics actually stood the diagram s goal is to help you understand what each mic is intended to capture A photo M Mid mics of the actual studio and its mics is on page Close mics 12 S Surround mics V Vintage mics D Divisi mics T Decca Tree Main mics All the C s in the diagram represent the various positions of the Close mics next to each string section The mics were near enough to capture the presence of the instrument but far enough away to allow the sound of the instrument to breathe The center T represents the approximate posi tion of the Decca Tree a cluster of mics at the front of the ensemble These Main mics are positioned high enough and far enough forward to capture a well balanced sound Note that these Main mics also include a pair of outriggers which are the left and right T s in the diagram The M is the location of the Mid m
94. new note this articulation is included in the library to achieve a more realistic sound than just repeating MIDI notes e Ricochet also called jet is achieved by throwing the upper third of the bow onto the string so that it bounces several times and creates multiple notes in quick succession e Spiccato is a semi off the string playing style that achieves a light and bouncy sound e Staccatissimo means very staccato See staccato below e Staccato notes are those that are of short duration and not connected to the following note in the phrase In contrast to on the bow staccato above the end of the note may be achieved by lifting the bow from the string e Sul ponticello is a style of playing with the bow very near the bridge it achieves a more intense sound that features the note s higher harmonics e Tremolo is the rapid repetition of a note but in contrast to measured tremolo above without a specific rhythmic fre quency Section members may be out of synch with each other resulting in a more continuous sound e Trills are the rapid alternation between two notes a minor or major second apart also called half step and whole step trills e Separate Up and Down patches are provided for many of the instruments The direc tion the bow is traveling during the note has a significant effect on the sound the instrument generates Because string players often alternate the direction of the bow with each note for certain
95. ng Vibrato Vibrato is the rapid fluctuation in the pitch of a note usually less than a semitone caused by the instrumentalist moving or rocking the finger that presses the string to the fingerboard Vibrato playing gives the note a warmer and less flat sound than the same note played non vibrato In Hollywood Strings control of the vibrato is available for instruments that can be held indefinitely The shorter notes in the other folders generally are not held long enough for Chapter 5 Orchestral Technique 76 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS vibrato to be heard But note that vibrato control is available for sustained notes in the playable runs When vibrato control is available it is the Mod Wheel also called CC 1 that controls the depth of the vibrato With the Mod Wheel all the way down at or near a value of the note is played non vibrato As you push the Mod Wheel up increase CC 1 the depth of the vibrato increases String players sometimes change the amount of vibrato they apply over the course of a long held note Using the Mod Wheel to vary the vibrato for example waiting a second or two into the sounding of a single note to start the vibrato can add the kind of realism not available by other means The typical vibrato capable articulation in Hollywood Strings can play at three levels of vibrato roughly corresponding to the bottom middle and top of the Mod Wheel s range The instruments that respond wi
96. nts are folder of recommended articulations for basic Hollywood Strings template This list is designed for semi powerful system so if your system is either more modest or more capable you may want to select other instruments to match the power of your hardware For those working with Hollywood Strings for the first time this list of instruments is a good starting point Then as you find other articulations you need add those to your template The table below specifies which instrument files are in the folder for each orchestral section Chapter 4 Instruments Articulations and Keyswitches 64 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS INSTRUMENT OVERVIEW TEMPLATE PRO INSTRUMENTS 1stVns 2ndVns Violas Celli Basses 1 NV NV NV VB RR Ni v v 4 v NV VB RR Ni Harmonics Ni Col Legno RRx4 v Legato Slur Portamento RR LT 12 v v Y V4 Legato Slur RR LT 12 Ni Y Y Y V4 Pizzicato RRx4 Y V4 4 Y Rep Runs Script Y Shorts MOD Speed v Y Y Y Slur Runs v Y Y Spiccato Marcato MOD Y Y Y Y v Staccato Slur RRx6 Sul Ponticello Ni Sus 9 RR 4th Position Ni Y V4 Y Y Sus 8 RR Ni v Tremolo Ni Y V4 V4 4 Y Trill HT WT Ni v 4 v Trill HT Ni v Chapter 4 Instruments Articulations and Keyswitches 65 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS PLAY 5 Orchestral Technique in Hollywood Strings 67 68 69 69 70 72 74 75 76 76 77 78 78 Setting Up Templates Opening Multiple Instances of PLAY Prepping
97. nts in this instance of PLAY including instruments from libraries that do not include a Master button If the Master button is already engaged in another instrument in the REVERS current instance of PLAY and the Master button is pressed in a new instrument then the settings in the UI of the new instrument be come the settings for all instruments in this PLAY instance The processing of high quality reverb can be very CPU intensive and it is often the case that you want to use the same reverb on all the instruments in an audio track Engaging the Master Reverb button allows you to run a single instance of the reverb processor and have the effect apply to multiple instruments When you engage the Master button PLAY puts up a warning message as shown above to remind you that the reverb settings in this instrument will now apply to all instruments in this instance The Pre Delay Knob Increasing this level delays the onset of the reverb so that the initial section of the sample is unaffected This feature allows the sound of each attack to maintain its true color while the rest of the note still gains the benefit of the reverb effect The Graphical Representation of the Envelope Eno The Envelope Controls are described in the main PLAY System manual because they are common to all PLAY System libraries Only some libraries include the graph as shown here so it is in cluded in the manuals for those libraries only 659 81 15
98. o output The instruments that allow you to select the string via either a keyswitch note or the Finger Position knob include KSFP in the name Those names that include 4th pos use the fourth hand position playing far up the neck when possible with no op tion for selecting the string during playback This 4th pos type of playing results in a warmer and more romantic sound than when playing closer to the tuning pegs Be aware that the greater number of options with the KSFP patches means that you re loading more samples into the computer s memory which may cause problems for systems with smaller amounts of RAM Chapter 4 Instruments Articulations and Keyswitches 44 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS Simultaneous Voices Many of the instrument names in this folder include a number 6 or 9 for most sections or 8 for the Basses section This digit represents the number of voices to be played concurrently allowing CC 11 Expression to modify the loudness and CC 1 the Mod Wheel to modify the depth of the vibrato both in real time by cross fading between samples See the descriptions of these instruments later in this chapter for more details Even though 6 or more voices are being played at once not all of them are audible The MIDI control codes are cross fading between voices For example you may be hearing a mix of the pp and mf samples based on CC 11 and only the vibrato samples based on CC 1 I
99. obe Acrobat Features The Master Navigation Document Online Documentation and Other Resources Click on this text to open the MasterNavigationDocument 1 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS Welcome About EastWest EastWest www soundsonline com has been dedicated to perpetual innovation and un compromising quality setting the industry standard as the most critically acclaimed producer of Sample CDs and Virtual software Instruments Founder and producer Doug Rogers has over 30 years experience in the audio industry and is the recipient of over 60 industry awards more than any other sound developer His uncompromising approach to quality and innovative ideas have enabled EastWest to lead the sound ware business for more than 22 years In 1997 Rogers partnered with producer composer Nick Phoenix and set up Quantum Leap a wholly owned division of EastWest to produce high quality no compromise sam ple libraries and virtual instruments Quantum Leap virtual instruments are mostly pro duced by Nick Phoenix Some of the larger productions such as Symphonic Orchestra Symphonic Choirs Quantum Leap Pianos and Hollywood Strings are co produced by Doug Rogers and Nick Phoenix As a composer Phoenix began scoring film trailers and television commercials in 1994 To date he has either scored or licensed music for the ad campaigns of over 1000 major motion pictures including Tomb Raider 2 Terminator 3 Lord of the Rings Return of
100. of the run in the case of downward runs that means the scale will end on the note you play on the keyboard Scale Maj Min or WT runs are major minor or whole tone scales respectively And 8va specifies a chromatic scale Control Instruments with KS in the name use 2 keyswitch notes to control the direction up or down In each case the keyswitch notes are CO to play a downward scale and 0 to play an upward scale When an instrument name includes MOD the Mod Wheel controls the direction Pull the Mod Wheel to the bottom half of its range and a scale runs downward Push it to the top half and the scale runs upward Chapter 4 Instruments Articulations and Keyswitches 50 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS An instrument name with SPLIT uses different parts of the keyboard for the 2 direc tions as follows For the 151 Violins e Playing GO plays an upward scale starting on the usual lowest violin note G2 And all notes GO to F3 play upward scales e Playing G3 plays a downward scale ending on G2 And all notes G3 to F6 play down ward scales For the Violas e Playing C1 plays an upward scale starting on the usual lowest viola note C2 And all notes C1 to G3 play upward scales Playing C4 plays a downward scale ending on C2 And all notes C4 to G6 play down ward scales For the Celli e Playing C1 plays an upward scale starting on the usual lowest cello note CI And all notes C1 to G3 p
101. of the very tall list is shown it continues to the top and bottom of the screen on the computer monitor Here are a few details you need to be aware of when reassigning 8 switch notes e f you assign an articulation to a note that is already assigned a keyswitch and don t move the other keyswitch then that note will trigger both the old and the new articulation effectively playing two articulations at once That might sometimes be useful and at fe other times a problem NN Detac e f you assign an articulation to a playable note in white on the onscreen keyboard then playing that note will also change the articulation The articulation will be changed after the start of the note so the note itself will not be in the new articulation it only starts with the next note SET D Detache Trill HT FF e f you change the keyswitch note for the currently selected articu lation then all the notes temporarily stop being playable until you select a new articulation by selecting a keyswitch note Visually this means all the white keys on the onscreen keyboard turn the darker tan color Remember that the lowest keyswitch note usually CO is the de fault keyswitch so it is considered currently selected until another keyswitch note is selected F 0 Trill Trill WT FF e f you open the context menu on a slot that contains a release trail you will see it is assigned the same keyswitch note as its main
102. ombination Legato Instruments For all Legato instruments that do not combine multiple techniques the MIDI Velocity parameter controls the speed with which PLAY transitions form one note to the next The softer you play the longer and more expressive each legato transition is good for slower passages And playing the notes with more force speeds up the transitions good for fast passages For expressive and slow legato performances a velocity of around 50 60 works well For fast passages play the string parts with a velocity of 110 127 In these instruments velocity does not affect loudness Combination Legato Instruments Slur Portamento This section describes the parameters that PLAY uses to change from one kind of legato to another within a single instrument Slur Portamento In this patch the MIDI velocity controls the speed of the interval the smaller the Velocity in its range from 1 to 127 the more slowly the pitch moves from one note to the next faster transitions use more of a slur while slower transitions are a full portamento with a very audible slide in the pitch from one note to the next Because of that use for Velocity you cannot use Velocity to affect dynamics use CC 11 instead Because CC 11 cross fades between dynamic layers you can change loudness and tim bre in the middle of a note In addition the Mod Wheel CC 1 controls the vibrato for the sustained portion of the note Chapter 4 Instruments Articu
103. ou get more and more vibrato Or in a sequencer you can use MIDI Control Code 1 to make the same changes to the sound a value near zero plays the note with no vibrato and near 127 you hear the maximum vibrato Because vibrato is implemented with a control code which is what the Mod Wheel sends and not as separate instrument files it is possible to change the depth of the vibrato in the middle of a note If for example you want a sustained note to start with no vibrato and then have the vibrato increase at some point which is a common tech nique with string players that s possible with all these instruments though in the first approach that will also increase the loudness Chapter 4 Instruments Articulations and Keyswitches 43 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS String Choice and Finger Position The D tach and Sustain instruments except for the Basses give you access to samples of each note recorded on each of the four eow Detache strings where possible The image on the right shows an ex ample of the Articulation listing in the Player view Note that each of the 4 strings is listed separately along with the release trails from those samples named with RT at the end Each string also lists its keyswitch note CO to D 0 Because this instrument is a keyswitch file it s possible to select the string on which the note will be played with the keyswitch Fam String 4 RT For example if you want
104. our string orchestra mix Giving the ear contradictory signals can confuse it achieving either a good or bad effect depending on your intentions And then of course there s multi channel surround sound but that discussion is out of scope in this section Volume Velocity and Expression There are at least three ways to make a sampled instrument sound louder or at least make the real instrument seem to have been played louder The skilled MIDI orchestrator uses all three Volume is just the loudness of the generated sound Changing volume is basically the same as turning the volume knob on your audio system The violas played softly can be cranked up a loud cello section can be turned way down Volume can be adjusted mid note that is the listener can experience a crescendo or diminuendo for a held note Even un natural sounds can be created such as a crescendo for a single pizzicato note sl ex Tess And as with a live orchestra the various instru ments are changing their loudness independently something you cannot do with the stereo s loud ness knob note is played Adding force changes not only the loudness of the notes but usually also changes the notes timbre With a piano s action the velocity cannot affect what happens to the Velocity a term based on how strongly a keyboard player hits the keys controls how forcefully the Chapter 5 Orchestral Technique 72 EAST
105. piccato articulation As the run moves up or down PLAY uses the appropriate sample based on the direction and the interval between notes e up a whole tone e up a half tone e no change because it s the first note in the run e down a half tone e down a whole tone The differences among these 5 samples are subtle but provide a real sense of a run and not just individual spiccato samples played in rapid succession This instrument cannot play a run in which any consecutive notes are more than a whole tone apart In the Smooth version a layer of staccato is layered on top of the transitions between notes This composite patch achieves a less abrupt but still characteristically spiccato run Tremolos Hollywood Strings includes two types of tremolos unmeasured called simply Tremolo and measured In the unmeasured instruments each player moves his bow without re gard to the tempo creating a sound with no discernible rhythm The measured version is aware of the overall piece s current tempo allowing the patch to pulse in time with that tempo The TS in the name of this instrument means that it uses a feature of the PLAY engine known as Tempo Sync to align the speed of the internal beats within the measured tremolo to the overall tempo of the piece When PLAY runs as a plug in it asks the host for the current tempo When it runs in standalone mode the tempo is set in the Engine Tempo Sync control which you can find by opening
106. piece If a piece ends with an up bow and you restart the piece without reopening PLAY the next time the playback will start with a down bow because that s next in the alterna tion You can fix this problem making each playback the same as the last by doing a round robin reset You can do that with the button in the Hollywood Strings UI or even better you can assign a round robin reset event to a MIDI note one out of range for this instrument and the sequencer will do a reset each time you start playback The image above shows the interface for setting this value in the Other tab of the Set tings Dialog Note numbers are consecutive with Middle C being number 60 The 32 shown in the image is what EastWest calls AO a little more than two octaves below Middle C Note that round robin resets apply only to the instrument s assigned to the MIDI channel that contains this MIDI event e f you frequently play a sequence from any arbitrary spot in the middle you may want to place round robin reset events at important positions throughout the sequence to force a reset of which of the alternatives to play next Chapter 4 Instruments Articulations and Keyswitches 42 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS If you follow the rules above you can increase the likelihood of consistent and realistic playback Vibrato Depth The depth of the vibrato in Hollywood Strings is provided in 3 levels non vibrato abbreviated NV e vibrato VB
107. pplicable law 3 Transfer Restriction A right to use the EASTWEST SOFTWARE is granted to the origi nal end user of the product Licensee and is NOT transferable You may not rent lease lend sell redistribute or sublicense the EASTWEST SOFTWARE Updates and Upgrades If an EASTWEST SOFTWARE update completely replaces full install a previously licensed version of the EASTWEST SOFTWARE you may not use both versions of the EASTWEST SOFTWARE at the same time nor may you transfer them separately Not for Resale NFR Copies Notwithstanding other sections of this License EASTWEST SOFTWARE labeled or otherwise provided to you for development or on a promotional basis may only be used for development demonstration testing and evaluation purposes and may NOT be used for any revenue generating activity that includes the use of the EASTWEST SOFTWARE without the written consent of EASTWEST If you are not sure which license type you own LICENSE NFR please check your iLok or other identified security account or contact licensing eastwestsounds com Educational Copies You must be an Eligible Educational End User to use the EAST WEST SOFTWARE Eligible Educational End Users means students faculty staff and administration attending and or working at an educational institutional facility i e col lege campus public or private K 12 schools EASTWEST SOFTWARE provided for this purpose may NOT be used for any revenue generating activity t
108. re in this chapter and grouped into these multis If you want more detail about the instruments and how to use them look for that information where the individual patches are described Be aware that the Full String Trill instruments list a keyswitch with 2 keyswitch notes e A 1 for a half tone trill e 1 for a whole tone trill But the Basses include only a half tone trill so they do not respond to any keyswitch notes The multi called Full String Spiccato Marcato MOD plus Col Legno opens not only the Spiccato Marcato MOD patches for all 4 sections but also the Col Legno patches though only for the Celli and the Basses And the Celli Col Legno plays for notes up to G4 This layering of the Col Legno sound adds punch to the attacks of these notes Chapter 4 Instruments Articulations and Keyswitches 62 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS Special Legato Full String Patches The first three patches in the Full Strings table above provide a single section with a legato instrument while the rest of the string orchestra plays with the same kind of Sus tained patches heard elsewhere in the Long folder for the Full Strings The Sustain instruments opened with these Special Full String patches behave in the same way with regard to vibrato depth as those named NV NV NV VB that is the Mod Wheel controls both loudness and vibrato but without the use of Molto Vibrato For in formation about the Legato Slur instruments see pag
109. re is in the Sus RR and the D tach RR instruments in the O1 Long folder If you want that automatic alternation then you might consider using an individual Round Robin articulation file instead of this keyswitch file If you load two instruments that load the same sample files as do the 1st Violins Sus RR and the 1st Violins KS CO F O files for example PLAY is smart enough to load the samples only once as long as the two instruments are opened in the same instance of PLAY Legato Slur and Portamento 07 basic and 09 Powerful System These two folders of instruments include a variety of different types of legato playing Which type to use in any particular context depends on factors such as tempo size of the intervals between consecutive notes and the orchestrator s preferences Important Note 1 Instruments in the folder O9 Legato Slur and Portamento Powerful Sys tem are designed for computers that meet or exceed the specifications for recommended systems Some of these instruments can load up to 1 GB of samples per mic position into the computer s memory In addition because of their size these patches may need to be used with fewer other instruments open If your computer has trouble rendering audio from these instruments use instruments in the O7 Legato Slur and Portamento folder instead Important Note 2 Hollywood Strings divides its legato instruments into two folders based on whether or not bow change legato is included I
110. rt at EastWest Online Documentation and Other Resources For the most up to date information visit the support pages at EastWest s web site There you can find e information made available after these manuals were written FAQ pages that may already list answers to questions you have e suggestions from EastWest and other users of the EastWest PLAY System e news about upcoming releases The address is http support soundsonline com You can also visit the EastWest online forums There you can read comments and ques tions from others who use EastWest products and post your own The many forum par ticipants are a good source of helpful information about both the technical and musical aspects of this software The address of the forums is http www soundsonline forums com If you visit the forums to receive support from EastWest instead of going directly to the support site listed above make sure you post your support request in the Support forum and not in the General Discussion forum Chapter 1 Welcome 9 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS 4 PLAY 2 Hollywood Strings An Overview 11 The Design Point for the Hollywood Strings Library 13 What s Included 13 Hardware Requirements Click on this text to open the MasterNavigationDocument 10 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS Hollywood Strings An Overview The Design Point For the Hollywood Strings Library Hollywood Strings was designe
111. s feature gives you the ability to control the accent of individual notes within a part including the use of sounds of an intermediate quality between spiccato and marcato This is a Round Robin instrument with 9 sets of samples in rotation for the Spiccato patch And there are 8 sets of samples for the Spiccato Marcato MOD patch Staccato The term staccato refers to any note of short duration that is not connected legato to the following note In this listing it is more narrowly used to signify any short bowed note not included in one of the earlier listed articulations Hollywood Strings includes the following types of Staccato articulations e plain Staccato e Staccato On Bow e Staccato in which the Mod Wheel can be used to change to Marcato e Staccatissimo Chapter 4 Instruments Articulations and Keyswitches 48 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS The instrument named Staccato On Bow captures the sound of short notes in which the bow does not lift off the string at the end of the bow but instead comes to full stop This creates the distinctive sound of the bow stopping its movement at the end of each note Staccatissimo is otherwise like Staccato but with notes of even shorter duration The instrument named Staccato Marcato MOD cross fades between staccato and mar cato samples It allows the user to increase the strength of the accent on some notes within a part by pushing up the Mod Wheel or increasing the value
112. s with a true hardware RAID O solution offers the best performance For professional users we recommend consulting computer system specialists to achieve the best performance EastWest has done extensive testing in which PLAY running with solid state drives for the samples and instruments was able to reproduce over 700 concurrent voices without any pops clicks or other artifacts that can occur when the same sequence streams from a traditional hard drive This difference indicates that it is not the PLAY software that provides the bottleneck in the data flow but rather the seek time required to locate the many hundreds of samples on a traditional hard drive when they need to be streamed to the CPU all at once For those composers and orchestrators looking to build large projects using the kinds of instruments that add realism through the use of complex cross fades solid state drives along with more than 8 GB of RAM can help make that happen Requirements for Sample Storage The available space on the hard drive required for an installation of EastWest Quantum Leap Hollywood Strings Diamond Edition is approximately 312 GB Gigabytes Chapter 2 Quantum Leap Hollywood Strings An Overview 14 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS PLAY 3 The Hollywood Strings User Interface 17 Performance 18 Finger Position Knob 24 Round Robin Reset Button 24 Stereo Double Controls 24 The Master Button and Pre Delay Knob in the Reverb
113. sed effect is separate from the actual Legato instruments included in Hollywood Strings For information on how the Legato script compares with the Legato instruments see the discussion starting on page 76 Portamento Button Portamento also sometimes called glissando is the technique of a continuous slide in pitch from one note to the next note in the phrase Portamento as available with this script is usually a short anticipatory movement between the pitches of two adjacent notes This script based effect is separate from the actual Portamento instruments in cluded in Hollywood Strings Chapter 3 The Quantum Leap Hollywood Strings User Interface 17 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS Turning on the Portamento script in a phrase is a subtle way to increase a sense of real istic playing Repetition Button Repetition in this context refers to the playing of a single pitch more than once with no different notes played between them in the same phrase Turning on this button causes repeating notes to sound slightly different avoiding the sense of mechanical repetition See a more complete description of the repetition script starting on page 27 for more on how to use this feature Other Button This button controls whether a hidden script is turned on or off This script if present manages some important features of a wide variety of articulations from scripting that selects the correct staccato sample based on the speed wi
114. ses on our right There are two reasons we might want to continue this practice The first is to trick the listener s ear into perceiving a recording of a live performance Even when everyone understands that the piece was created inside a computer emulating a traditional sound can have its benefits The second reason is that it s easier for the human ear to hear two similar sounds as separate when it perceives them as arriving from different locations If the second violins and the violas are doubled or even playing an octave apart they will stand out from each other better when they seem to be in separate locations in the soundscape that surrounds us Panning As was done with EastWest s ground breaking Symphonic Orchestra Hollywood Strings is different from most other collections of orchestral samples in that the panning of the various instruments to the traditional locations on the sound stage is built in to the stereo samples The double basses for example are already louder in the right channel Therefore one can leave the panning level at center for all instruments and they will be correctly placed on the stage in the final mix Of course if you want to adjust the pan ning to achieve your own sound and or a non traditional placement of instruments that can be accomplished either in the PLAY interface or in the host sequencer Chapter 5 Orchestral Technique 70 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS ADVANCED The previous paragrap
115. sic notation for those who prefer to read the note values from staves The tables start on the next page Chapter 3 The Quantum Leap Hollywood Strings User Interface 20 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS FINGER POSITION VIOLINS FP1 FP2 FP3 FP4 A 4 and above are all played on String 4 M String 4 String 2 C3 and below are all played on String 1 String 4 Violins nid String 3 suc String 1 d NAS Chapter 3 The Quantum Leap Hollywood Strings User Interface 21 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS FINGER POSITION VIOLAS FP1 FP2 FP3 FP4 D 4 and above are all played on String 4 D4 String 4 String 2 String 1 F2 and below are all played on String 1 String 4 Violas String 3 oe String 1 String 2 a E For those not as fluent when reading a t viola s alto clef note that the breaks between strings on the celli are at ex pg actly the same notes as on the violas but an octave lower You might find it easier to read the bass clef for the celli and mentally transpose up an octave for the violas Chapter 3 The Quantum Leap Hollywood Strings User Interface 22 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS FINGER POSITION CELLI FP1 FP2 FP3 FP4 D 3 and above are all played on String 4 D3 String 4 String 2 F1 and below are all played on String 1 String 4 Celli es String 3 gan String 1 Chapter 3 The Quantum Leap Hollywood Strings User Interface 23 EA
116. struments will be mixed in the PLAY audio engine and written to the track as a single stereo signal If instead you ve selected to set up multiple tracks then you can select the track for each individual instrument and possibly each individual microphone position Outputs that share the same channel are mixed in the PLAY audio engine and written out as a single track Outputs on different channels are written indepen W wicropuones dently to different sequencer tracks and available to be mixed within the sequencer at a later time ApvANCED Note that the sequencer may be able to generate monophonic track from the stereo output but that will happen in the sequencer PLAY always outputs a stereo signal See the sequencer s documentation if you want to generate a monophonic track The 5 Microphone Positions in Hollywood Strings Hollywood Strings contains 5 mic positions that can be controlled from the Player view as shown in the image at the right In ad f dition it contains 2 other mic positions that are not controlled with the Microphone controls in the PLAY window These are the Divisi mics which captured the first chair and second chair in strumentalists separately See the section on Divisi Instruments on page 77 for more detail All the instruments in EastWest Quantum Leap Hollywood Strings were recorded simul taneously from multiple locations in the studio The photograph on the next page gives you an idea of the number
117. t fast enough to fit about a dozen pulses in the note This sound is more realistic than just repeating the same note over and over from some other patch because you hear the continuity of the sound including the bow reversal within the sample See the second paragraph for Tremolos above to learn more about Tempo Sync Just as with the Measured Tremolo TS patches repeti tions adjust the speed of the internal beats to the current tempo of the piece This instrument uses CC 11 to cross fade between 3 dynamic levels which lets you change both loudness and timbre continuously while the note is playing It does not respond to MIDI Velocity Sul Ponticello This articulation is only available in the Viola section It s a style of playing with the bow very near the bridge it achieves a more intense sound than usual that features the notes higher harmonics This instrument does not respond to MIDI Velocity Use CC 11 to affect the dynamics 06 Keyswitch If you are not familiar with how to use a keyswitch instrument in PLAY see more informa tion starting on page 69 in this manual and also the Keyswitches section in the main PLAY System manual Chapter 4 Instruments Articulations and Keyswitches 54 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS Sustain Keyswitches The lists below specify the articulations available in each section s Sustain Keyswitch files 1st Violins e CO Sustain Down Bow e C 0 Sustain Up Bow e DO D tach Dow
118. t while so when playing one note you will see the voices indicator in the UI show 10 voices and quickly drop to 9 where it will stay until the note is released For the Basses section the name is Marc Sus 8 RR It behaves the same as what is described above except there are 4 dynamic levels for each of the non vibrato and vibrato samples and no molto vibrato In this case the UI will show 9 voices quickly dropping to 8 Flautando Only the 2nd Violins include a Flautando patch You may find though that the Sustain patch in other sections when played pp with no vibrato e with the Mod Wheel pulled all the way down achieves a similar sound Chapter 4 Instruments Articulations and Keyswitches 45 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS This is a style of string playing that uses the point of the bow above the fingerboard to create breathy ethereal non vibrato sound with flute like quality This instrument does not include control of finger position or vibrato nor does it include round robin samples as do the other instruments mentioned earlier in this section Harmonics Only the 2nd Violins include a Harmonics patch This high and whistling sound is gener ated when the light touch of a finger at a harmonic node for example at exactly half a third or a fourth of the sounding length of the string causes the bowed string to vibrate at a natural harmonic of the fundamental tone In Hollywood Strings all
119. th variable vibrato all employ cross fades meaning that the change from one level to the next is a smooth transition For example pushing the Mod Wheel one fourth of the way up gives you some vibrato but less than at the mid point Divisi Instruments It is common in orchestral string writing to sometimes split a string section into two halves so they can play different phrases or notes In a live orchestra it is usual to have the two string players sharing a music stand each take a different divisi part And due to the physics of orchestral sections the loudness of a divisi part is not much less than if the whole section were playing the part During the Hollywood Strings recording sessions microphones were placed close to the left and right of each section to capture mostly the left or mostly the right side of the section The approach of recording the divisi mics at the same time as all the other mics was necessary to prevent intonation problems that might occur from separate takes All the instruments in Hollywood Strings also have corresponding divisi instru ments that end in Div A and Div B The appear in separate folders in the Browser as shown in the image at the left The Divisi instruments include only Close mics because anything further away would capture both halves of the section For the other mic positions in your projects include the same articulations in their non divisi versions and adjust the loudness You ca
120. th which notes are played to scripting that manages release trails for legato patches Do not turn off this button when it s lit unless you know how that action will affect the audio output Turning it on when an instrument contains no script has no effect Con Sordino Button The term con sordino means with mute On string instruments a mute attaches to the strings near the bridge and dampens the vibration creating a sound with its higher overtones reduced Turn on this button to hear the con sordino sound You can also specify whether con sordino is in effect with MIDI CC 15 When this con trol code is 65 of greater con sordino is turned on when 64 or less it is turned off Use the control code for turning on and off this effect note by note during playback Or use the button instead when it should be always on or always off for any given MIDI track Finger Position Knob The Finger Position knob controls as much as possible the string on which the note will be played An instrument s lowest notes such as Middle C on a violin can only be played one way but as you go higher up the scale the number of ways to play a note rises and then decreases again for the highest notes T These 4 values available with this knob correspond to the hand positions that a string player uses during a real performance You can use this knob to approximate the same position related change in sound that can be achieved on a real instrum
121. the file system on your computer e The manual that describes the whole PLAY System This the largest of the manuals addresses how to install and use all aspects of the software that are common to all libraries e The library specific manual such as the one you are currently reading This smaller document describes aspects that differ from one library to the next such as the list of included instruments and articulations Using the Adobe Acrobat Features By opening the Bookmarks pane along the left edge of the Adobe Acrobat Reader the user can jump directly to a topic from the section names Note that some older versions of Acrobat Reader might not support all these features The latest Acrobat Reader can be downloaded and installed at no cost from the Adobe web site As an example of a hyperlink you can click on the last words of the previous sentence Adobe web site to be taken directly to the Adobe site When reading this and other manuals on the computer screen you can zoom in to see more detail in the images or zoom out to see more of the page at once If an included picture of the user interface or a diagram seems fuzzy or illegible then zoom in using one of several means provided in the Acrobat Reader software Note that images are clearest and screen shots most legible at 200 and next best at 100 The Master Navigation Document Because the EastWest PLAY System is a collection of components each with its own User s Man
122. the United States 11 Controlling Law and Severability This License will be governed by and construed in accordance with the laws of the State of California as applied to agreements entered into and to be performed entirely within California between California residents This License shall not be governed by the United Nations Convention on Contracts for the International Sale of Goods the application of which is expressly excluded If for any License Agreement License 5 EASTWEST END USER LICENSE AGREEMENT reason court of competent jurisdiction finds any provision or portion thereof to be unenforceable the remainder of this License shall continue in full force and effect 12 Complete Agreement Governing Language This License constitutes the entire agree ment between the parties with respect to the use of the EASTWEST SOFTWARE licensed hereunder and supersedes all prior or contemporaneous understandings regarding such subject matter No amendment to or modification of this License will be binding unless in writing and signed by EASTWEST Any translation of this License is done for local requirements and in the event of a dispute between the English and any non English versions the English version of this License shall govern 13 Third Party Software and Service Terms and Conditions Portions of the EASTWEST SOFTWARE utilize or include third party software and other copyrighted material Ac knowledgements licensing terms and dis
123. tless movie trailers Star Trek Harry Potter 6 Tales of Despereaux The Dark Knight Valkyrie The Hulk Rendition Spider Man 3 Golden Compass The Assassination of Jesse James Pirates of the Carib bean 3 Babel Hitman Am Legend 300 No Country For Old Men Harry Potter 5 The Brave One Wall E Blood Diamond Speed Racer and Night at the Museum are a few recent examples Thomas is also a trumpetist and has performed on major TV productions including NBC News In his pursuit of the ultimate realism in samples he has produced a great number of orchestral sample libraries for his own use With Hollywood Strings it was time to join forces with veteran producers Doug Rogers and Nick Phoenix and to share this knowl edge with the rest of the world Thomas studio is located in Santa Monica California www thomasbergersen com Chapter 1 Welcome 5 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS Sound Engineer Shawn Murphy Shawn Murphy is an Academy Award C A S Cinema Audio Society BAFTA and Emmy award winning sound engineer who has recorded and mixed the scores for more than 300 feature films including Indiana Jones and the Kingdom of the Crystal Skull Star Wars The Phantom Menace Star Wars Episode II Attack of the Clones Star Wars Episode III Revenge of the Sith Star Wars A Musical Journey Jurassic Park Jurassic Park The Lost World
124. to retain the sonic perspective of the string orchestra in the concert hall If you don t use the Close mics and you play something that requires very quick and punchy attacks you Chapter 5 Orchestral Technique 82 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS may notice some small delay which can be cured by adding in some of the Close mics In most cases you would want to use the Close mics to add definition to an instrument or section The idea is to experiment until you find a combination that works Microphone Positions Release Trails and Digital Reverb All three of these technologies can be used to control the apparent ambience of your audio output It is important to understand the effect of each and to use them wisely Microphone Positions The way you choose to mix the microphones in your project can result in a sound that varies from small and dry to large and wet What you are adding in or leaving out to some degree is the natural ambience of the room exactly as it occurred during the recording sessions This ambience is heard as long as the samples are playing and that includes the release trail samples but cannot extend past the end of the samples Release Trails These are samples that begin at the moment the instrumentalist stopped playing each note and capture the sound that continues to ring in the natural reverberation of the recording studio It is possible to turn off release trails for any instrument but doing
125. to play C4 the C that s one octave above Middle C on a violin it s possible to play that on any of the first 3 strings but it s too low to play on the E string Playing a keyswitch note in advance of the CA lets you specify whether to play the note on e the G string with the finger position far up the neck closer to the bridge e the D string with the finger position in the mid range e the A string with the finger position near the tuning pegs The sound becomes warmer and more emotional as the finger position moves up the neck You can feature this color by encouraging PLAY to sound the notes on string 1 the G string or achieve a less emotional sound by encouraging the use of a higher string When it s not possible to play the note on the requested string the PLAY engine auto matically moves to the next closest string on which the note can be played The string can also be selected with the Finger Position knob but you have more imme diate control in real time whether playing live or through a sequencer with the use of the keyswitch notes See more information about how to use keyswitches on page 69 and in the PLAY System manual The Finger Position knob is described on page 18 ADVANCED In theory the checkboxes in the Articulations control allow you to de activate and unload the samples for any string You are advised not to do that in these instru ments unless you have an understanding of how it will affect the audi
126. trails an RT in the name indicates it s a release trail Sus 00 Each of the main articulations but not their release trails includes the name of the keyswitch note at the beginning for example the third line indicates that the Sustain Up Bow is turned on with the C 0 keyswitch enol The checkboxes at the left of the control allow you to deactivate any Tremolo RT articulation turn it off while leaving its samples in memory or sepa FE TrHT rately to unload the samples from memory The small knobs in the uiu third column allow you to adjust the loudness of each articulation FRO TINKT without affecting the loudness of the others In the image at the left all of the D tach articulations have been unloaded the Half Tone Trill articulation has been deactivated Remapping Keyswitch Notes If you want to change which note is assigned to any articulation in the keyswitch you can do so in this control Right click on a Windows PC or Ctrl Click on a Mac to open a context menu of all possible keyswitch notes In the image at the right the context Chapter 3 The Quantum Leap Hollywood Strings User Interface 28 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS menu for F 0 Trill WT is shown The check next to F 0 indicates the current keyswitch note Click on any other note name in the list to remap the articulation to a different keyswitch note In the image at the right only the center section
127. u to process mul WR tiple mic positions simultaneously then you can use this approach Set up your instruments as in case 2 above but use the individual output controls for the mic positions you re using to send the audio to separate tracks in stead of mixing them within the PLAY audio engine xau Chapter 5 Orchestral Technique 84 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS The image above shows the output control open to reveal the drop down list of possible audio outputs Using these controls you can direct the audio to separate tracks in the sequencer or separate tracks in the sound card when running in standalone mode Se lecting Default sends the audio to whichever track is selected in the Master controls selecting anything different sends the audio to that stereo pair of outputs In the se quencer or sound card you can specify which outputs should be captured in each audio track See the documentation for your sequencer or sound card to learn how to do that Note that it is possible to send multiple instruments and even mic positions to the same track and the PLAY engine will mix them For example you can send the Close mics from the staccato celli the pizzicato violins and as many more as you want to the 3 4 outputs and they will all get bounced down to the same audio track This approach gives you a ability to spread out your audio outputs any way you want up to the maximum number of outputs your system
128. ual a Master Navigation Document MND is provided to allow users to jump quickly between these PDFs when being read on the computer screen This MND is a one page file with hyperlinks to the PLAY System documentation and to all the library manuals Hyperlinks to this Master Navigation Document are found on the title page of each chapter in each document From there you can open any other document in the collection For example if you re reading something in this documentation for the EastWest Quan tum Leap Hollywood Strings library and need to open the manual for the PLAY System as well go to any chapter title page and click on the link that says Click on this text to open the Master Navigation Document It will open in a new window on the screen In that document click on the icon for the PLAY System and its manual will open in the same window hiding the MND You now have both the Hollywood Strings library manual and the PLAY System manual open in separate windows so you can refer to them both Chapter 1 Welcome 8 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS Separate Gold and Diamond Manuals The EastWest Quantum Leap Hollywood Strings virtual instrument is available in two versions Gold and Diamond And each has manual slightly different from the other so it is important that you use the correct version of the manual This is the manual for the Diamond Edition If you have the incorrect version of the manual contact Technical Suppo
129. ument descriptions below PLAY might be playing up to 14 concurrent samples for each note not including release trails The descriptions below sometimes specify that for example the instrument does not respond to MIDI velocity or that you should use a specific approach when controlling dynamics and timbre In general if you find that an instrument is not responding to one of the ways of specifying loudness even in instruments where it s not mentioned inves tigate using other means to get the dynamics you re looking for Niente Instruments These instruments have the abbreviation Ni near the end of the file name They exist in all folders except 03 Short Tight and O4 Short Loose For the Full Strings folders look for Niente instruments in the Long folder but not the Short folder All these instruments allow you to take the loudness down to zero or to use the Italian musical term al niente The exact behavior of the dynamics in these instruments de pends on the size of the instruments For those in the Powerful System folders 02 09 and 10 As is described elsewhere these patches use CC 11 Expression to cross fade dynamics and CC 1 the Mod Wheel to cross fade the depth of the vibrato What is different about the Niente instruments is that CC 11 not only cross fades the dynamic layers but it can also bring the volume all the way to zero when the value of CC 11 approaches zero Chapter 4 Instruments Articulations
130. ur possible As a general rule if you re playing eighth notes quavers at a tempo of about 70 bpm or higher you ll hear the slur samples below that you ll hear the bow change samples Bow Change Slur Portamento This instrument is the same as Bow Change Slur above except that any note with a MIDI velocity 1 50 within the 1 127 range is played with the portamento samples instead of the slur samples Round Robin Legato Instruments For every instrument in the folder O8 Legato Bow Change there is a corresponding ver sion with RR in the name These are Round Robin versions that alternate between an Up Bow sample and a Down Bow sample The non RR versions use only Down Bow samples When using these Round Robin patches consider using the Round Robin Reset MIDI event to force a Down Bow start to the alternation in each new section of your piece where you use one of these patches This precaution ensures consistency of playback Note that these RR instruments are not listed in the table above just know that every instrument in this folder as well as the O7 Legato Slur Portamento folder also has a Round Robin version Chapter 4 Instruments Articulations and Keyswitches 60 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS 11 Legacy When EastWest Quantum Leap introduced update 1 0 2 to the Hollywood Strings li brary a large number of the instruments were created in a second form with a feature known as Niente that permits acc
131. us 2nd Violins Legato Y Y Sus Violoncelli Legato Sus 1 NV NV NV VB RR Sus 2 NV NV VB VB RR Sus 3 NV NV VB MV RR Tremolo Trills KS A 1 B 1 continued NSISI SISISISIS NSISISISIS NSISISISISISISIS NSISISISIS Chapter 4 Instruments Articulations and Keyswitches 61 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS INSTRUMENT OVERVIEW FULL STRINGS Short 151 Vns 2ndVns Violas Celli Basses Pizzicato v Y Y Spiccato Marcato MOD V4 Y Y v Spiccato Marcato MOD Col Legno Y CL Y CL Staccato Marcato MOD Y Y Staccato Slur Marcato MOD vSu v Each instrument type is assigned range of notes so that instruments do not overlap The most common ranges are listed here but the break might occur at a slightly differ ent point X e C4 E6 Violins e G2 B3 Violas Violins e CI F42 Celli e CO BO Basses Violas You can see the exact position of the break by looking at the on screen keyboard for the component instruments een Using any of these patches it s possible to play the full en semble in real time at a keyboard None of these patches gives Basses you as much control over articulations as the individual instru ments from the other folders but when you want to have the whole string ensemble at your fingertips literally these patches provided unparalleled usability Notes on the Full Strings Patches All the component instruments are selected from the individual instruments described elsewhe
132. using more than 2 mic positions repeat the process to create the rest of the tracks Once you have all the tracks you can mix them into a single track adjusting the relative volumes to achieve the sound you want There are two principal advantages to this approach First it requires a smaller computer system or network than trying to load multiple sets of samples into RAM at once Sec ond you have separate audio tracks for the three mic positions which you can use to cre ate a wetter or drier remix or to create a surround sound version at a later time And you can do so with the confidence that you will have no phasing issues to contend with 2 Creating ready mixed audio tracks all at once It is also possible to work with more than one mic position at a time though this requires a more capable computer setup to handle the extra samples in RAM and the extra con current processing In this approach before bouncing down to audio tracks you can load multiple mic positions in all instruments You will need to adjust the individual volume sliders for the three microphone positions at this time to achieve the balance you want This approach works best when you want to get a final mix quickly without working through multiple mix downs 3 Creating parallel audio tracks from a single instrument file If you want to create the separate audio files described in the first approach and have a very capable computer system that will allow yo
133. ustain style they cannot be played indefinitely The samples work well whether you play the samples to the end or you end the note be fore that But if your notes are short enough to be considered staccato it s best to use one of the articulations in that style in order to get the real note ending sounds from one of the various techniques for creating true staccato Sustain All Sustain instruments continue to play a note audibly as long as the note is held this is achieved by looping the samples They are a good choice for slow moving lines that need a consistent sound no matter how long the notes are held The Sustain instruments give you a lot of control over several performance parameters bow direction e depth of vibrato see page 43 e choice of string which affects finger position see page 44 e the number of simultaneous voices to play see page 45 Each of these parameters is discussed in detail before proceeding to information about the individual instruments Bow Direction There are three bowings in Hollywood Strings for playing Sustain samples e Down Bow abbreviated DB e Up Bow UB e Round Robin RR Chapter 4 Instruments Articulations and Keyswitches 41 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS The Round Robin instruments include both the up and down bow samples and alternates between them to achieve the effect of a string player reversing the direction of the bow with each note If you know that you l
134. xt e the longer notes when you sustain a note in the middle of or at the end of the run The sustained notes are available at 3 levels of vibrato non vibrato vibrato e molto vibrato Use the Mod Wheel CC 1 as a MIDI code to select among these 3 levels the further up you push the Mod Wheel the more vibrato you hear And remember that vibrato can be changed continuously including in the middle of a note The sustained notes are available at 5 dynamic levels think of them as pp p mf f and JP which are controlled by the MIDI Expression control code CC 11 The MIDI Veloc ity parameter does not control the loudness of the notes in this instrument The selection of which string to play the sustained notes on can be controlled with ei ther the Finger Position knob in the Player view or the instrument s keyswitch For more information on Finger Position within PLAY see the description starting on page 18 Chapter 4 Instruments Articulations and Keyswitches 52 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS These instruments are intended for very fast runs minimum speed is sixteenth notes semi quavers at about 125 beats per minute While it is possible to play at a slower tempo the results will likely be less realistic than at faster speeds Spiccato Runs Normal and Smooth Both of these Spiccato Run instruments are available only in the 2nd Violins section They are intended for playing fast runs with the sound of the s
135. xt stage is crucial and highly subjective EWQLSO responds to two different vol ume controllers CC7 volume and CC11 expression It is highly recommended you record a CC7 message at the beginning of every track Spend some time to set the initial volume of every track at a level in natural balance with the rest of the orchestra This is tricky and will never be perfect but the more time you spend the less hair you ll lose later If you will be using Hollywood Strings exclusively the balance of section is easier than if you re bringing in other non string instruments If for example you re using the winds and percussion of EWQLSO then start by playing the timpani horns and big string ensemble really loud and at the same time that will give you a reference of what the loudest passages will be like Together they should be at least 3 db below O Then adjust the other instruments to blend with these loudest instruments It s recommended you not use MIDI volume CC7 for any other purpose than this initial volume setting Use CC11 to change volume and breathe life into your compositions This way CC7 acts as a limiter and keeps everything from getting out of whack Also you can easily change the prominence of an entire track in the mix by adjusting this single CC7 level at the start of the track At this point you should save the sequence before moving on Then go to your matrix edi tor or whatever it s called in your sequencer to set up w
136. y you re asked to sit anywhere closer to the back of the house and high up The same viola melody is played again From this perspective the full acoustics of the hall are most evident because you hear clearly the sound bouncing off the ceiling the walls all the reflective surfaces in front of you and even behind It can be a very lush sound though perhaps lacking in the immediacy of a closer position however adding in a little of this sound either in a stereo mix or in the rear speakers of a surround sound record ing can add dimension to the recording This mic position was used to create the Sur round samples Leaving the thought experiment there are still 2 other sets of microphones to discuss While on the subject of the Surround mics the Vintage mics are an alternative to the Surround mics They capture basically the same perspective but Hr uu use RCA44 ribbon mics similar to what was used when mak ans ing soundtracks for classic Hollywood movies The switch to the right of the Surround button in the PLAY interface lets you select whether to use the more modern mics pushed up or the vintage mics pushed down Chapter 5 Orchestral Technique 80 EASTWEST QUANTUM LEAP HOLLYWOOD STRINGS Unlike the other 5 mics mentioned here the Divisi mics are not available as a mic posi tion in the UI Instead these mics capture the sound of just half a section playing they appear as articulations The divisi mics are positio

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