Fable Sounds Broadway Big Band 1.0.1
Fable Sounds Broadway Big Band 1.0.1
Fable Sounds Broadway Big Band 1.0.1
Manual v1.01
Chapter 1: Introduction
If you are cross grading from Broadway Big band, or are familiar with the HALion powered version of Broadway Big Band,
you will find that Broadway Big Band Kontakt Edition substantially simplifies your workflow and makes it faster and
easier. You should still read through the manual, as many new features have been added, and the entire software side of
it has been completely revamped and improved.
There is also much improved documentation of the various key switches and articulations.
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1) Registration
First, you need to register your product.
Go to: www.fablesounds.com/register
Click the "New user registration" link and follow the on-screen instructions.
Click the Register product" link and follow the on-screen instructions.
You will be asked to enter the serial number that's printed at the bottom right corner of the quick-start
guide page, included in the product box.
At the end of the process, the system will send you the activation serial number that you will use in step 5.
*** If you are registering a cross-grade product you must register your previous (HALion) version first. ***
2) Installation:
Put the software installation CD in your CD/DVD drive and run the installer.
When prompted to select a folder for the library, you should select a folder on a large enough hard-drive to
accommodate the 100GB of the audio content of Broadway Big Band, and fast enough to stream audio from.
4) Add library:
After all files have been copied to the "Samples" folder, open KONTAKT 4 or KONTAKT 4 Player, go to the "Library"
tab, and click the "Add library" button. You will be prompted to browse for the library folder. You should select
the "Broadway Big Band Kontakt Edition" library folder.
5) Activation:
In the Libraries tab you will see Broadway Big Band listed with an Activate button right by it. Click the
Activate button. This will launch the Native Instruments Service Center. You will be asked to enter the
activation serial number that you received by email from the Fable Sounds registration system. After that, you
will have to restart Kontakt or Kontakt Player before you can open Broadway Big Band instruments without
restrictions.
2)
Click on the gray Browse button on the Broadway Big Band banner.
3)
In the Instruments folder there are 3 folders: Brass, Reeds, and Rhythm Section In each of these folder
you will find sub-folders representing each of the instruments of these sections. Browse to the instrument you
wish to load. Inside the instrument-specific folder, you will find several versions of that instrument. For Legato
instruments, you will find legato versions and polyphonic versions. For all instruments (with the exception of the
drum-kits) you will find several different microphone setups to choose from. (more on that in chapter 8)
4)
To load an instrument, just double-click it, or drag-and-drop it into the instrument interface area.
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Temporary Articulations:
One other original concept first introduced to virtual instruments by Broadway Big Band, is bi-directional key-switches;
key-switches intended for special articulations that are only needed for a moment, temporarily, and not as an articulation
to play entire melodies in. (Falls, shakes, etc...) Traditional key switches affect all the notes played after them. If you want
to go back to playing with sustain samples after playing an effect, using traditional key switches you will have to press
the effect key, play the effect note, then quickly press the sustain key-switch again (and you'd better remember which
vibrato type you were using prior to switching to the effect) and only then can you play the rest of the melody. With
quick passages this is simply impractical. Bi-Directional key-switches make the whole thing much easier, because notes are
only being affected by them while they're pressed and held down. Once a Bi-Directional key-switch is released, the
instrument goes back to playing in its active playing state, remembering the type of vibrato last used and whether or not
plunger or flutter where activated. This makes it much easier to perform even very complicated phrases flawlessly and in
real-time.
Active Key-switches (From sustain):
This is yet another concept, first introduced to virtual instruments by Broadway Big band.
These key-switches, typically using the same physical keys as non-active key-switches of a similar articulation, affect
notes that are already being played, and actively trigger samples of articulations that were recorded as from sustain.
For example, if you press and hold (F#0) and then play a note, the note will be played with a Fall articulation. If you on
the other hand, play a sustained note and then, while still holding the note, you click the same (F#0) key-switch, a Fall
from sustain sample will be instantaneously triggered, causing the sustained note to end with a fall. This would be an
Active Temporary Articulation.
Another example: if you click the (F0) key-switch and then play a note, the note will play with flutter-tonguing effect,
played with a soft attack and a mild crescendo, and if you played a note (without flutter-tonguing) and clicked the same
(F0) key-switch while still holding the note, the note will intently cross-fade and change from a clean sustained note to a
note with a flutter tonguing effect. This would be an Active Change of Playing State.
There is also one unique key-switch available for the Tenor-Saxophone 1 instrument, which actively changes
articulations both when being pressed and when being released. Its articulation is Alternate Fingering and you can go
back and forth on the fly between standard fingering and alternate fingering, just by pressing that key-switch and
releasing it. This would be Bi-Directionally Active Temporary articulation.
Key-Switch Combinations:
This is a simple concept borrowed from the all familiar computer keyboard. We all use it all the time. If we want a dollar
sign, we hold the SHIFT button and click the number 4. If we want to save a document we hold the OPTION button or
CTRL button and click S. This enables us to use the same keys we already have in our standard keyboard and add much
additional functionality without requiring much more keyboard real-estate or many additional keys.
Both Broadway Big Band and Broadway Big Band Kontakt Edition are using this concept of key-switch combinations to
achieve the same goal. Extended functionality from as little as possible keyboard real-estate, and keeping is as simple and
intuitive as possible. In Broadway Big Band there are 4 such keys: (C#0), (D#0), (A0) and (B0).
(A0) and (B0) are strictly SHIFT keys, and (C#0) and (D#0) double as Temporary articulation key-switches and as OPTION
keys; (C#0) is both OPTION-KEY1 and STACCATISSIMO, and (D#0) is both OPTION-KEY2 and STACCATO.
When holding any of these shift or option keys while pressing other articulation keys, the combination offers a variation
on that original articulation. For example: (F#0) is Fall down. Pressing (F#0) while holding OPTION-KEY2 (D#0), will result
with a Fall Up (doit) articulation. Same (F#0) press while OPTION-KEY1 (C#0) is held, and the combination will result in
playing a Glide Down articulation. Hold both (C#0) and (D#0) and press the same (F#0) key-switch, and the combination
will result in playing a Fall Down- Slow articulation.
Repetition and the virtual sustain pedal:
The (C0) Temporary key-switch is the Virtual Sustain Pedal. If you have an actual sustain pedal you can use it instead or
in addition. It is there to enable two things: Repetition (legato into the same note), and automatically keeping a phrase
played in legato, when it is too difficult to keep overlapping notes. This is especially relevant in case of very fast musical
phrases or when there are wide gaps between notes, that prohibit a continuous overlapping legato playing.
A detailed list of articulations and their respective virtual key-switches is available in chapter 9
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The Key Switch Monitor offers a visual representation of the multidimensional playing state and any active temporary
articulation. It is possible to press the playing state buttons with the mouse, and change articulations that way, however,
that would not be recorded into your midi sequencer, so it is always better to use your midi keyboard for all keyswitching. When a certain playing state is active, the correlating button lights up (as seen in the above scree-shot).
When a temporary articulation is active, the name of the temporary articulation appears in the Temporary
Articulations box at the bottom right.
Velocity mode switching:
On the left side, you may notice a column titled Velocity with two options: Kbd + Midi CC and Midi CC Only.
Those are key-switchable from the midi keyboard using (B-1) for the Kbd + Midi CC playing state, and (A-1) for the Midi
CC Only playing state option. Most of the instruments in the Broadway Big Band Kontakt Edition offer this option. By
default, Broadway Big Band instruments respond to Keyboard velocity, and yet while holding a sustained note, the
instrument also responds to the modulation wheel (or any other midi controller you choose to assign to it) creating
smooth modulation-wheel driven crescendos and decrescendos.
Using the new feature, you can click the (A-1) key-switch and going into Midi CC Only mode, the instrument will bypass
and ignore the keyboard velocity and will only consider the modulation wheel (or any other Midi CC of your choice) in
deciding the velocity of the notes played. Clicking the (B-1) key-switch will bring you back to the default state in which
both the midi keyboard velocity and the midi controller are considered.
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Alternates tab:
This tab is mostly for advanced users who want ultimate control over the cycles of alternate samples.
That said, you should always use this tab when mixing multiple microphone setups of the same instruments that need to
remain in sync with one another. After loading a second microphone setup, click the Reset Cycles button on both
versions of the instrument (without playing any notes in the middle of the process). The alternate cycles of the two
versions will then be aligned.
Now for the more advanced uses of this tab:
Broadway Big Band has a unique patent-pending way of handling alternate samples(AKA "Round robin" ).
Alternate samples are multiple recorded versions of the same note of the same articulation and same dynamic level,
which are intended to be played consecutively one after the other in case of repeating notes, in order to avoid the
"Machine-gun effect" which is the very unconvincing sound of the same exact sample played repeatedly. Most of the
modern virtual samplers support that feature, however the way in which it is implemented is radically different.
Most samplers offer a single cycle for alternate-samples (AKA "Round robin" ) so that each note played moves the cycle
one step forward. This method presents two main problems.
The number of alternate takes must be consistent throughout the entire instrument, whether it makes sense or not.
In case of for example two alternate takes, when you play a trill, because of the way it is managed, the entire idea of
alternate samples is rendered useless, as each time each of the trilling notes is played, it triggers the same take of each
of them.
The way it is done in Broadway Big Band is fundamentally different. There are individual and separate cycles of alternate
samples for each note of each articulation in each dynamic level, allowing inconsistency of the number of alternate
samples between the different notes articulations and dynamic levels, and also, as a result, the script moves each cycle
separately, only when the same note of the same articulation and dynamic level is repeated. The result is a completely
life-like performance which sounds slightly different every time you play it Just like what you get when using real live
musicians on a recording session.
This is very refreshing; However, sometimes you will want to lock performance, just like you do when recording a good
take of a live musician. This is what the Alternates tab is for. In this tab there are 20 snapshot buttons. When you click
Store and then click one of the 20 snapshot buttons, a snapshot of all alternate cycles of the relevant instrument is
stored in that button.
Now can be recalled at any time, by either clicking the button again at any time, or (and this is the more useful and
practical way), in order to automatically recall an alternate cycle snapshot for an instrument, go to your midi sequencers'
piano-roll editor or any other editing window that allows step-time entries and add a short note at (C-1) , just like you
would have added a key switch right before a note, giving it the velocity value identical to the number on the snapshot
button you want to automatically recall. For example, if you want to recall snapshot number 3, add a short note in the
sequencer at (C-1) with a velocity value of 3.
To learn more about editing key-switches in the sequencer's piano roll please refer to chapter 6.
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Options tab:
In the options tab you can change the midi controllers used. The default controllers are the modulation wheel (1) and the
volume pedal (7). You can change those by either changing the numeric value, or use the learn function, by clicking the
learn button and then move the midi controller you want to use.
There is also a Legacy Mode button. It was put there to help porting projects from the HALion powered version, so that
they would play correctly in spite of some of the programing changes. Legacy Mode is not yet fully functional, and we
suggest you do not rely on it for now.
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Chapter 8 Drums
There are a few things you should know about the drum kits in Broadway Big Band, if you want to get the most out of
them. These are just a few concepts that aren't obvious, and that are not found in most other sampled drums.
Concept:
The drums in Broadway Big Band were recorded with a no-compromise attitude. While the most important secret
weapon was the drummer (Tim Newton), it seems that all the elements came together in a perfect way. The room, the
old Neav board, and the amaizing recording engineer. We recorded it all with 25 microphones and onto 36 multi-track
channels at 24bit/192Khz. Problem was that we ended up with so much multi-track content, that the scope of a virtual
instrument that Drum kits are not its main focus prohibited us from including it all. Instead, we decided to do a sweetspot stereo mix-down and a 24bit/44.1Khz down-conversion, to reduce it to a more manageable size.
Multi-channel output
That said, for mixing convenience, we offer (multi) versions of the kits in which the different parts of the kit are sent
to 5 separate stereophonic outputs, starting at stereo2.
The kits are separated to:
Kick drum
Snare drum
Hi-Hat
Toms
Cymbals
In order to take advantage of the multi-output versions of the drum kits in the stand-alone mode, you will have to add
more output channels in Kontakt and assign them to actual outputs. When used as a plug-in, you will have to use a
version of the plugin that offers enough outputs to accommodate the output configuration and enable and/or activate
those channels in your host mixer.
Mapping concept:
To accommodate the numerous articulations and left-hand/right-hand variations in an intuitive as possible manner, we
decided to adopt a mapping concept that imitates the shape of physical drums, known as Mirroring.
The idea is simple. A group of keys is designated to a single drum or a cymbal, and the right-hand and left-hand versions
of the articulations correlates with the physical instrument, so the outer edges of the group of keys would play samples
recorded playing on the outer edges of the instrument, and the closer to the center of the group of keys, the closer to
the center of the physical instrument it gets. Since a midi keyboard has a pattern of white keys and black keys, and the
black keys are physically higher than the white keys, this is used to make the mapping yet more intuitive. For example,
Rim samples of snare and toms are mapped on black keys exclusively, and so as Bell samples of cymbals.
To keep the overall mapping somewhat compatible with industry standards, we placed the kick drum at the bottom of
the keyboard, the many keys designated to the snare, right above that, then the several keys of the closed high-hat,
then open high-hat, floor drum, rack-toms, and then the cymbals. The main kit (played with sticks) is taking up 86 of the
88 keys of the keyboard. The Brush-kit uses a bit less.
Choking Cymbals:
Cymbals tend to have very long sustaining sound, both in real life and when sampled. Some just fade them out. We took
a different approach, but there's no doubt that sometime they have to be stopped. Being that we're trying to emulate
the real thing, we decided to do what drummers do when they want to stop their cymbals. Chock them.
One unusual feature of the Broadway Big Band drum kits, is the ability to chock cymbals, much like it's done in real life.
One of the keys designated to each of the cymbals (the ones we recorded that articulation for) has a sample mapped to
it, of just the chocking of an already sustaining cymbal. It sounds much like a release note and is not really meant to be
played by itself. Just like with release samples (the ones that are automatically played when you release the key that is
playing a sustain note, and add the natural ending of a note and its slight reverberation in the room), it is when used in
context of ending a sustained note, that the real magic happens.
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Chapter 9 Strumming
The Banjo and the Ukulele instruments in the Broadway Big Band collection now offer a strumming script that enables
you to hold the notes that you want to make a chord with, and then strum up and down in various articulation types,
using active key-switches. This strumming mode can be activated or deactivated via key-switching. With strumming
turned off, you can play all of the notes and articulations freely, and the script will automatically alternate between upstroke and down-stroke playing, unless you're playing a chord, in which case the plucking direction will remain the same
throughout the playing of that chord.
On the Key-switch monitor tab of these instrument you can also adjust the minimum and maximum duration of the
automatic strumming. In strumming mode, the script automatically strums faster to louder velocities and slower to
softer velocities.
A detailed list of key-switches can be found in chapter 11.
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acoustically buildup in the air, and with the added room reflections you get a "Fatter" sound. This Microphone setup is
very useful especially for jazz-oriented pieces, and if you want to "glue" the instruments together, making them sound as
if they were recorded as an ensemble, sharing microphones in a single room.
This is also a good option if you want a soloist sound that needs to be incorporated in a symphonic arrangement.
Mic 4: Room Mic
A Large capsule condenser microphone (U87)
Positioned high above the instrument, near the high ceiling of the studio, this microphone setup includes a lot of room
reflections, yet it is still aimed at the instrument and not from very far away so you still get a direct signal from the
instrument, but it is well-blended with the room reflections. The height of the microphone helps it in ignoring the
acoustical gobos that are altering the acoustical characteristics of the other microphones, letting the entire large liveroom to be heard. This Microphone setup can be used as a natural reverb, when combined with any of the other
microphone setups, or could be used by itself when a softer wide-and-far sound is desired. This is also very useful if you
want to include any of the Broadway Big Band instruments in a symphonic arrangement, and make it blend with the rest
of the symphonic ensemble.
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Microphone 3:
This large diaphragm condenser microphone (U87) is positioned near the sounding board of the upright bass and uses a
vintage tube pre-amplifier, so it is loaded with healthy phat low frequencies. It is great by itself for a jazzy warm sound
without too much emphasis on the attack of the plunking. However, as mentioned above, it is highly recommended to
combine this microphone setup with the "Mic1" setup for an extra punch.
Microphone 4:
This large diaphragm tube condenser microphone (149) is positioned in front of the center of the upright bass as a loose
mic, using a vintage tube pre-amplifier. It is suitable in those cases where other microphone setups feel overwhelmingly
massive and close. As it is not as close to the instrument it dose not have as much size and punch as mic1 and mic3, but
it has its own qualities. The extra distance from the instrument lets the sound develop and breathe. If you want to take
advantage of these advantages without sacrificing low frequencies, simply add more Low frequencies by EQ-ing it. It is
also possible to combine this microphone setup with mic3 for extra boost on the low frequencies (no phasing issues are
going to be presented by it) but as both mic3 and mic1 are close microphone positions which are meant to be combined
with each other for a combined close-micing setup, combining mic4 with any of them (1 or 3) may not provide you with
the unique advantages of either close micing or loose micing, however, you may experiment with the various
combinations and create just the sound you want for the specific production you are working on
Microphone setups for Banjo / Ukulele:
There are two stereophonic microphone setups for both the Banjo and the Ukulele.
The differences are in the over-all sound as a result of microphone angles and stereo imaging. Two ribbon microphones
and two condenser microphones were used.
Simply experiment with both and use the one the most suits your current production.
Microphone setups for Latin Percussions:
All of the Latin percussion instruments were recorded roughly the same way, so this following description is appropriate
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for all of them (Congas, Bongos, Timbalitos, and the various percussion toys). There are 3 stereophonic microphone
setups that can be used individually or in combination with any or all of the others.
Microphone Setup 1:
"Close Microphone Setup".
This stereophonic pair of dynamic microphones (SM57) simulates a live performance situation, and is also good when you
want the percussion to easily cut through the mix and sound close and crisp. The stereo image is super-wide (to the
extent that sometimes an instrument will only be heard on one side of the panorama with virtually no sound bleed on
the other. You can always narrow the stereo image down a notch if you want to do so, by adjusting the PAN knobs in
your mixer, or by adding the "Room microphone setup" (Microphone-Setup 3).
Microphone Setup 2:
"Loose Microphone Setup".
This stereophonic pair of large diaphragm condenser microphones (C414) was positioned behind the performer, and
hence capture a rich room reflection content in addition to a wide stereo image of the instruments themselves. You can
always narrow the stereo image down a notch if you want to do so, by adjusting the PAN knobs in your mixer, and/or by
adding "Microphone Setup 3" which has a narrower stereo image. This microphone setup can be used by itself to blend
smoothly in the mix (or for a high-end sounding percussion solo part), or in conjunction with "Microphone Setup 1" for
extra punch. However, once again, combining all three stereophonic microphone setups is recommended, as it provides
maximum sonic control when mixing.
Microphone Setup 3:
"Room Microphone Setup"
This stereophonic pair of large diaphragm condenser microphones (U87) were positioned high above and behind the
percussionist, facing the large live room and capturing its reflections. In order to prevent phasing issues and avoid too
long of a distance from the instruments, they were setup in an X shape at the center, and hence provide a narrower, yet
very natural stereo image. This microphone setup can be used as a natural reverb, or to simulate a situation of
microphone-bleed. It can also be used by itself if the production calls for long micing of the percussion.
Microphone setup 1:
A stereo pair of large diaphragm condenser microphones positioned at the top of the xylophone, capturing the most
punch and emphasizes the attack and detail of the sticks hitting and rubbing the wooden instrument. This stereophonic
microphone setup delivers a bright sound with much detail, especially in the high frequencies.
Microphone Setup 2:
A stereo pair of ribbon microphones, using a vintage tube pre-amplifier and positioned under the xylophone. This
stereophonic microphone setup delivers the "meat" of the acoustical tone of the instrument, and it is usually a very good
idea to use it in conjunction with "microphone setup 1" or in some cases just by itself. Even though it is not as physically
close to the surface of the xylophone keys, it still presents a nice punch and attack, but also a warmer, fuller, and more
pleasing tone.
The recommended combination for close-micing is the combination of "microphone setup 1" and "microphone setup 2".
Microphone Setup 3:
"Room-mic". This Stereophonic pair of microphones captures the xylophone from a distance, yet without sacrificing the
stereo width and spread, due to the special way they were positioned compared to the acoustical gobos that were used.
This stereophonic microphone setup can be used by itself for long-micing applications, or in conjunction with any one of
the other microphone setups or with both.
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Passive State-change is a key-switch that changes the playing state of an instrument for all notes to follow it.
Active State-Change is a key-switch that changes the playing state of an instrument, affecting an already
presently played note.
Passive Temp is a key-switch that triggers a temporary articulation for notes to be played while it's held down.
Active Temp is an key-switch that triggers a temporary articulation for an already presently played note.
Passive / Active Temp is passive if pressed before playing a note. Active if pressed to affect an ongoing note.
Bi-Directional Active is a key-switch that triggers a temporary articulation for an already played note both
when pressed and when being released. (only applicable to the Alternate Fingering articulation).
Hold refers to SHIFT and OPTION keys that need to be held while pressing the main articulation key-switch.
When it says Hold press and hold that key-switch first.
Press refers to a temporary articulation key-switch that needs to be pressed and held while playing the notes
that are to be affected by it.
Click refers to both active temporary articulations such as Fall from sustain, and all playing-state keys, and it
means that once you click that key-switch, there is no need to keep it pressed down, and any SHIFT and/or
OPTION keys held for it can be released as well.
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Alto-Sax-1
Articulation
Required
Key-switches
Playing States
Behavior
Click(C1)
Passive State-change
Hold(A0) + Click(C1)
Active State-change
Click(D1)
Passive State-change
Hold(A0) + Click(D1)
Active State-change
Click(F0)
Active State-change
Growl Off
Click(E0)
Active State-change
Legato
Comments
Staccato
Press(D#0)
Passive Temp
Staccatissimo
Press(C#0)
Passive Temp
Legato to short
Press(C#0) or (D#0)
Passive Temp
Press(F#0)
Growl On (F0)
Press(F#0)
Glide down
Hold(C#0) + Press(F#0)
Fall up
Hold(D#0) + Press(F#0)
Fall up slow
Hold(B0) + Press(F#0)
Press(D0)
Passive Temp
Smear legato
Press(D0)
Passive Temp
Sforzzando
Press(G#0)
Passive Temp
Press(G0) or
Hold(A0)+Press(G#0)
Grace Note
Press(A#0)
Passive Temp
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Trumpet-1
Articulation
Behavior
Click (C1)
Passive State-change
Active State-change
Click (D1)
Passive State-change
Active State-change
Sustain No Vib
Passive State-change
Active State-change
Staccato
Press (D#0)
Passive Temp
Staccatissimo
Press (C#0)
Passive Temp
Legato to short
Passive Temp
Press (F#0)
Fall up (doit)
Fall up slow
Press (D0)
Passive Temp
Passive Temp
Passive Temp
Comments
Play notes in an
overlapping fashion
(legato) to trigger the
articulation.
Passive Temp
Passive Temp
Passive Temp
Passive Temp
Passive Temp
Passive Temp
Shake Fast
Passive Temp
Shake Slow
Passive Temp
Grace Note
Press (A#0)
Passive Temp
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Articulation
Behavior
Comments
Chromatic Runs
Press (D#1)
Passive Temp
Rip Portamento
Press (C#1)
Passive Temp
Passive Temp
Flutter sustains
Click (F0)
Active State-change
Growl sustains
Active State-change
Flutter/Growl Off
Click (E0)
Active State-change
Flutter On (F0)
Press (G0)
Passive Temp
Flutter On (F0)
Press (F#0)
Passive Temp
Plunger On
Click (F1)
Passive State-change
Plunger Off
Click (E1)
Passive State-change
Plunger Pattern 1
Plunger On (F1)
Flutter Off (E0)
Click (C1)
Passive State-change
Plunger Pattern 2
Plunger On (F1)
Flutter Off (E0)
Passive State-change
Plunger Pattern 3
Plunger On (F1)
Flutter Off (E0)
Click (D1)
Passive State-change
Plunger Pattern 4
Plunger On (F1)
Flutter Off (E0)
Passive State-change
Click (C1)
Passive State-change
Passive State-change
Click (D1)
Passive State-change
Passive State-change
Plunger On (F1)
Press (C#0)
Passive Temp
Plunger On (F1)
Press (D#0)
Passive Temp
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Tenor-Sax-1
Articulation
Required
Key-switches
Playing States
Behavior
Comments
Click (C1)
Passive State-change
Active State-change
Sustain No Vib
Passive State-change
Active State-change
Passive State-change
Staccatissimo
Press (C#0)
Passive Temp
Staccato
Press (D#0)
Passive Temp
Legato to short
Passive Temp
Press (D0)
Passive Temp
Smear w/ Growl
Growl On (F0)
Press (D0)
Passive Temp
Passive Temp
Growl Sustain
Click (F0)
Active State-change
Growl Off
Click (E0)
Active State-change
Press (F#0)
Passive / Active
Temp
Growl On (F0)
Press (F#0)
Passive / Active
Temp
Glide Down
Passive / Active
Temp
Growl On (F0)
Passive / Active
Temp
Passive / Active
Temp
Fall Up
Passive / Active
Temp
Press (G0) or
Hold (A0) + Press (G#0)
Passive / Active
Temp
Passive Temp
Marccato + No Vibrato
Passive Temp
Sforzzando
Press (G#0)
Passive Temp
Passive Temp
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Alternate Fingering
Press (C#1)
Clap FX
Passive Temp
Passive Temp
Alto-Sax-2
Articulation
Required
Playing
States
Key-switches
Behavior
Comments
Staccatissimo
Passive Temp
Press (F#0)
Tenor-Sax-2
Articulation
Required
Playing
States
Key-switches
Behavior
Click (C1)
Passive State-change
Sustain No Vibrato
Passive State-change
Comments
Staccatissimo
Press (C#0)
Passive Temp
Staccato
Press (D#0)
Passive Temp
Legato to short
Passive Temp
Press (D0)
Passive Temp
Passive Temp
Press (F#0)
Fall Up
Sforzzando
Press (G#0)
Passive Temp
- 22 -
Bari-Sax
Articulation
Required
Playing
States
Key-switches
Behavior
Sustain No Vib
Growl Off
(E0)
Click (C1)
Passive Statechange
Growl Off
(E0)
Active State-change
Sustain Vib
Growl Off
(E0)
Click (D1)
Passive Statechange
Growl Off
(E0)
Active State-change
Legato no-vib
no-vib
deep-vib
Comments
Growl Sustain
Click (F0)
Active State-change
Growl Off
Click (E0)
Active State-change
Staccatissimo
Press (C#0)
Passive Temp
Staccato
Press (D#0)
Passive Temp
Double staccato
Passive Temp
Triple staccato
Passive Temp
Legato to short
Passive Temp
Press (D0)
Passive Temp
Sforzzando
Press (G#0)
Passive Temp
Passive Temp
Passive Temp
Press (A#0)
Passive Temp
Passive Temp
Passive Temp
- 23 -
Passive Temp
Trombone
Articulation
Required
Playing States
Key-switches
Behavior
Sustain no vib
Click (C1)
Passive State-change
Active State-change
Sustain vib
Click (D1)
Passive State-change
Active State-change
Legato
Flutter tongue
Click (F0)
Active State-change
Flutter Off
Click (E0)
Active State-change
Click (G0)
Passive Temp
Click (G0)
Passive Temp
Gliss Portamento
Click (C#1)
Passive Temp
Gliss Portamento w/
Flutter
Flutter On (F0)
Click (C#1)
Passive Temp
Sforzzando
Press (G#0)
Passive Temp
Passive Temp
Sforzzando + Cresc
Slow
Passive Temp
Staccatissimo
Press (C#0)
Passive Temp
Staccato
Press (D#0)
Passive Temp
Flutter Staccato
Flutter On (F0)
Passive Temp
Vibrato None
(C1)
Plunger Off (E1)
Press (D0)
Passive Temp
Vibrato Normal
(D1)
Plunger Off (E1)
Press (D0)
Passive Temp
Shake Fast
Passive Temp
Passive Temp
Passive Temp
Press (F#0)
Flutter On (F0)
Press (F#0)
Glide Down
Wow (marccato)
Passive Temp
Plunger On
Click (F1)
Passive State-change
Plunger Off
Click (E1)
Passive State-change
Click (C1)
Passive State-change
Plunger Pattern 1
Plunger On (F1)
Flutter Off (E0)
- 24 -
Comments
Articulation
Required
Playing States
Key-switches
Behavior
Plunger Pattern 2
Plunger On (F1)
Flutter Off (E0)
Passive State-change
Plunger Pattern 3
Plunger On (F1)
Flutter Off (E0)
Click (D1)
Passive State-change
Plunger Pattern 4
Plunger On (F1)
Flutter Off (E0)
Passive State-change
Press (D0)
Passive Temp
Plunger On (F1)
Flutter On (F0)
- 25 -
Comments
Clarinet
Articulation
Required
Playing
States
Keyswitches
Behavior
Comments
Press (D0)
Passive Temp
Smear legato
Press (D0)
Passive Temp
Glide down
Press (F#0)
Passive Temp
Soprano Sax
Articulation
Required
Playing
States
Key-switches
Behavior
Sustain no vib
Click (C1)
Passive State-change
Active State-change
Sustain vib
Click (D1)
Passive State-change
Active State-change
Press (D0)
Passive Temp
Staccatissimo
Press (C#0)
Passive Temp
Staccato
Press (D#0)
Passive Temp
Legato to short
Passive Temp
Legato no vib
Vibrato None
Legato vib
Vibrato Normal
- 26 -
Comments
Required
Playing States
Key-switches
Behavior
Comments
Passive State-change
Stem Sustain
Passive State-change
Stem Off
Click (E0)
Passive State-change
Plunger On
Click (F1)
Passive State-change
Plunger Off
Click (E1)
Passive State-change
Passive State-change
Passive State-change
Passive State-change
Passive State-change
Wah Short
Passive Temp
Passive Temp
Passive Temp
Shake Fast
Passive Temp
Press (F#0)
Fall Up (Doit)
Required
Key-switches
Playing States
Behavior
Sustain No Vib
Click (C1)
Passive State-change
Click (D1)
Passive State-change
Staccato
Passive Temp
Shake Fast
Press (F#0)
Passive / Active
Temp
- 27 -
Comments
Trumpet-2
Articulation
Required
Playing States
Key-switches
Behavior
Comments
Passive State-change
Flutter tonguing
Click (F0)
Active State-change
Flutter Off
Click (E0)
Active State-change
Staccato
Passive Temp
Press (F#0)
Fall Up (Doit)
Sforzzando
Click (G#0)
Passive Temp
Passive Temp
Required
Playing States
Key-switches
Behavior
Comments
This is the only articulation of this instrument.
Required Playing
States
Key-switches
Behavior
Comments
Sustain No Vib
Staccato
Passive Temp
Press (F#0)
Required
Playing States
Key-switches
Sustain Vib
Behavior
Comments
This is the only articulation of this instrument.
- 28 -
Upright-Bass
Articulation
Required
Playing
States
Key-switches
Behavior
Sustain No Vib
Passive State-change
Click (D1)
Passive State-change
Click (C1)
Passive State-change
Staccato
Press (D#0)
Passive Temp
Press (F#0)
Passive Temp
Passive Temp
Slap
Press (G#0)
Passive Temp
Press (D0)
Passive Temp
Passive Temp
Passive Temp
Comments
Xylophone Rubber
Articulation
Required
Playing
States
Key-switches
Behavior
Comments
Press (D#0)
Passive Temp
Tremolo
Press (G0)
Passive Temp
Key-switches
Behavior
Comments
Open
Click (E0)
Passive Statechange
Muted
Click (F0)
Passive Statechange
Open
Xylophone Plastic
Articulation
Required
Playing
States
Passive Temp
Open (E0)
Press (C#0)
Passive Temp
Press (D#0)
Passive Temp
Tremolo
Press (G0)
Passive Temp
- 29 -
Ukulele
Articulation
Required
Playing States
Key-switches
Behavior
Up Stroke
Click (C1)
Passive Statechange
Down Stroke
Click (D1)
Passive Statechange
Temporary Up Stroke
Press (F#0)
Passive Temp
Press (A#0)
Passive Temp
Click (F1)
Passive Statechange
Click (E1)
Passive Statechange
Strum up open
Click (F#0)
Active Temp
Click (A#0)
Active Temp
Click (F0)
Active Temp
Click (B0)
Active Temp
Half muted
Press (D#0)
Passive Temp
Grace note
Press (C#1)
Passive Temp
- 30 -
Comments
Banjo
Articulation
Required
Playing States
Key-switches
Behavior
Sustain up stroke
Click (C1)
Passive State-change
Click (D1)
Passive State-change
Temporary Up Stroke
Press (F#0)
Passive Temp
Press (A#0)
Passive Temp
Click (F1)
Passive State-change
Click (E1)
Passive State-change
Strum On (F1)
Click (F#0)
Active Temp
Strum On (F1)
Click (A#0)
Active Temp
Strum On (F1)
Click (F0)
Active Temp
Click (B0)
Active Temp
Strum On (F1)
Click (G0)
Active Temp
Strum On (F1)
Click (A0)
Active Temp
Click (G#0)
Passive State-change
Staccato up stroke
Click (G#0)
Passive State-change
Press (D#0)
Passive Temp
Press (D#0)
Passive Temp
Press (C#0)
Passive Temp
Press (C#0)
Passive Temp
Press (D#1)
Passive Temp
Press (C#1)
Passive Temp
Press (C#1)
Passive Temp
- 31 -
Comments
(C#3)
(C6)
(C0)
Kick drum
(D3)
(C#6)
(C#0) SD - Side-Stick
(D#3)
(D6)
(D0)
(E3)
(D#6)
(F3)
(E6)
(E0)
(F#3)
(F6)
(F0)
(G3)
(F#6)
(G#3)
Hi Reck Muted
(G6)
(G0)
(A3)
(G#6)
(A#3)
(A6)
(A0)
(B3)
(A#6)
(C4)
(B6)
(B0)
(C#4)
(C7)
(C1)
(D4)
(D#4)
Splash choke
(D1)
(E4)
Splash Left
(F4)
Splash Right
(E1)
SD Roll to hit
(F#4)
16 Crash Harmonics
(G1)
(G4)
(G#4)
(A1)
(A4)
(A#4)
(B1)
HH Splash
(B4)
(C2)
HH Stomp
(C5)
(C#5)
16 Crash chocking
(D2)
(D5)
(D#5)
19 Crash Harmonics
(E2)
(E5)
(F2)
HH Bark
(F5)
(F#5)
(G2)
(G5)
(G#5)
(A2)
(A5)
(A#5)
19 Crash chocking
(B2)
(B5)
(C3)
SD Center (Left)
SD Center (Right)
- 32 -