LASS 2.

0 Patches Manual

Copyright 2011

LASS 2.0 Patches Manual

The LA Scoring Strings sample library described herein is supplied under a formal license agreement that you enter into when using LA Scoring
Strings. Please refer to the LASS License Agreement PDF on the LA Scoring Strings DVD install.
The data contained in this users guide only serves for information purposes and may be changed without prior announcement. The contents,
images and information in the users guide does not constitute a legal obligation of audiobro. audiobro is not responsible for any eventual faulty or
inaccurate information contained in the users guide. The users guide and any parts thereof may not be reproduced or hosted on a website for
commercial or any other use without the prior and explicit written permission of audiobro. All trademarks are acknowledged as the property of
their respective owners.
The entire LA Scoring Strings sample library is based on real player performances and the utmost care was taken in preserving the
human feel of these performances. It is these human elements (natural variances and imperfections in performance and sound) that
create the realistic sound you hear when using LA Scoring Strings. Any imperfections in sound and performance are to be considered by
design and are subject to change only at audiobros discretion.
2009-2011 audiobro
2

Table of Contents

Table of Contents
Welcome to LA Scoring Strings 2..............................4

Trills.........................................................................32

Whats New in LASS 2?............................................6

Sordino Sustains.....................................................33

Instruments and Sections..........................................7

Harmonics...............................................................34

Continuous Controllers..............................................8

Auto Arranger..........................................................35

Patches Overview.....................................................9
LASS Articulations............................................ 11
Legend.............................................................. 11

The Sustain Pedal.............................................35

Auto Arranger Basic Edit..............................36
Auto Arranger Expert Edit.............................37
Set Up Sub-Rules.............................................38

LASS Real Legato Patches ....................................12

Legato Patch Overview.....................................13

Delay and Humanization Script...............................39

Sample Loading and Purging............................13

CC Table Script........................................................41

Short Articulation Patches.......................................15

Tuning Tools............................................................43

Ensemble Patches..................................................17
LASS Real Legato Script.........................................18
The Performance Page.....................................20

Micro Tuning Table............................................45

Multis.......................................................................47
Thank You...............................................................48

Legato Tweak Page..........................................23

EQ Page...........................................................25
A.R.T. Auto Rhythm Tool..........................................26
The Rhythm Tool (Rhythm Page)......................27
Anti Repetition Page.........................................29
Velocity Attenuator Page...................................30
3

Welcome to LA Scoring Strings 2

Welcome to LA Scoring Strings 2

Thank you for choosing LA Scoring Strings (LASS). I hope you enjoy using this string library as much as I do!! I have always been passionate about
strings, even before I ever scored my first orchestral project. As a kid, I remember listening to Vivaldis Four Seasons (Winter in particular) and getting
goose-bumps. It is amazing to me how a real orchestral string section can elicit such a wide range of emotions and touch our soul. From horror to
euphoria, and everything in between, strings seem to be able to express any emotion.
I think most composers would agree that there is nothing like a real string section... and I dont think real strings will ever be replaced. And even
though we use sample libraries to do our MIDI mock-ups and check our work, as composers and arrangers, Id bet that all of you, if given the budget
and time, would hire a real string section over using samples in a heartbeat. I know I would. But with many of todays scoring budgets and schedules,
sometimes its just impossible to have the real thing. It is my hope that in these situations youll find LASS to be the best alternative to live players.
Why did I create this library?
One of the principal reasons I created this library was because I was tired of not being able to write expressive and realistic string melodies. Intuitive
and convincing legato patches were sorely missing from my computers orchestral template.
Also, I was frustrated by the lacking expressive range of the sustains and the poor timing of staccato and spiccato articulations. I guess you could say
that the principal reason I created LASS was out of frustration.
So, as I set out to figure out how I was going to approach this library, it became obvious to me that I should focus on smaller divisi ensembles that
could be layered to form full sections. This would enable divisi, unison and tutti writing, and all sorts of options otherwise unavailable to me. Also, by
layering, you could ensure more randomness in the different divisis resulting in a much more natural sounding performance. So as it turns out, LASS
is like five libraries in one: a First Chair library, 1/4 Divisi A, 1/4 Divisi B, 1/2 Divisi C and a Full Section library.
And now, after a long time and tons of editing and programming, LA Scoring Strings is done... but not really. These patches will evolve and Id like
to think of LASS as a Living Library. I will be posting tweaked patches on the www.audiobro.com LASS forum as I do my own scoring projects and
create new patches.
Enjoy... and have fun!!
Andrew Keresztes
Composer / Developer of LA Scoring Strings

Instruments and Sections

System Specifications
Kontakt Version:
Kontakt 5+
Interfaces:
Stand-alone, VST, Audio Units, RTAS, ASIO, Core Audio, DirectSound
Minimum System Requirements:
Mac OS X X 10.5 or higher, Intel Core Duo 1.66 GHz, 1 GB RAM
Windows XP (SP2, 32bit) / Vista (32/64 Bit), Windows 7 (32/64 Bit), Pentium or Athlon XP 1.4 GHz, 1 GB RAM

Note: To get the most out of LASS, it is highly recommended that you install it on the fastest computer you can, with at least 2 gigabytes
of RAM. It is also recommended that you install LASS on modern 4 core or very fast 2 core machines to take full advantage of all divisi
sections. This will ensure a better performance and greater polyphony. LASS is like five libraries in one: a First Chair library, 1/4 Divisi A,
1/4 Divisi B, 1/2 Divisi C and a Full Section library. When layering the divisi sections, it can be quite demanding on your system, so for a
better performance, it is recommended to use LASS on the fastest computer you can as opposed to the minimum system requirements.

Whats New in LASS 2?

Whats New in LASS 2?

Aside from our new Stage and Color feature, LASS 2 has over 60 new patches ranging from Aleatoric (string effects) to NV-Vib (non vibrato to
vibrato) to Real Legato Tremolos and Trills
Here are some new features the LASS update includes:
Stage and Color At the heart of Stage & Color is a collection of exclusive orchestral sound profiles (colors) inspired by famous movie scores
and recordings. Now, at the push of a button, LASS can adopt the tonal characteristics of some of the most coveted scores and recordings.
A new ARC (Audiobro Remote Control) master script that will allow for dramatically easier control of all sections and divisis from a single
window.
Reverb and width controls of multiple patches from within the ARC.
New exclusive reverb Impulse Responses
ART programming of multiple patches from within the ARC.
CC Table control of multiple patches from within the ARC.
Auto Arranger control of multiple patches from within the ARC.
A new Key Switching approach of multiple patches from within the ARC.
Aleatoric (string effects) patches
Non Vibrato to Vibrato patches.
Legato Tremolo patches
Legato Trill patches
Micro Tuning and real-time performance of tuning.
A CC Attenuation knob that allows on to ride CC attenuation in real-time or after-the-fact for added dynamic control.
A new User Interface that is easier to read and more pleasurable to look at.
A drastically reduced footprint of only about 18Gb due to the inclusion of NIs NCW (loss-less compression audio file format) files. We include
the 24 bit files since it will be about 30% less taxing on your hard drive than a 24 .wav file. We noticed no measurable CPU hit using the NCW
files... and we did a lot of testing.
Many other new features and improvements

Instruments and Sections

Instruments and Sections

VIOLINS I
1 player First Chair
1 player 2nd Chair**
4 players ensemble A
4 players ensemble B
8 players ensemble C
16 players full section mix
CELLOS
1 player First Chair
1 player 2nd Chair**
3 players ensemble A
3 players ensemble B
4 players ensemble C
10 players full section mix

VIOLINS II*
1 player First Chair
4 players ensemble A
4 players ensemble B
8 players ensemble C
16 players full section mix

VIOLAS
1 player First Chair
1 player 2nd Chair**
3 players ensemble A
3 players ensemble B
6 players ensemble C
12 players full section mix

BASSES
1 player First Chair
1 player 2nd Chair**
2 players ensemble A
2 players ensemble B
4 players ensemble C
8 player full section mix

Green = LASS First Chair (FC), Blue = LASS Lite. LASS full contains all sections. * Derived from Violins I, Violins II are panned to a 2nd
violins orchestral perspective and programmed to avoid phasing issues with the 1st violins. ** Derived from the First Chair samples and
programmed to avoid phasing issues with the First Chair samples.
At the heart of LASSs sound are Real Legato performance sample patches and a unique layered ensemble approach. These ensembles were all
recorded individually in a large film scoring studio. Because theyre made up of different players (avoiding the dreaded same player sound), they
combine seamlessly to produce entirely cohesive small, medium, or large sections with the right divisi ratios.
LASS also features solo instruments performed by the section leaders. Rather than sounding like guest soloists, these instruments sound like the
first chair players they actually are, blending perfectly with the sections they come from.
The players are recorded in position on the scoring stage and mixed in the traditional orchestral seating perspective, making it simple to get a
magnificent string mix out of the box. Meanwhile we took the utmost care to ensure that the instruments can be panned anywhere with virtually no
phasing problems should you need to do that.
And to make it easy to get just the right sound, all LASS patches and programming are consistent from the first chair to the full mix. If a part sounds
right using the first chair patch, the same sequence will sound right with the full ensemble no MIDI reprogramming required.
The result is unprecedented control over dynamics, performance and section size.

Continuous Controllers

Continuous Controllers
These are all the MIDI continuous controllers (CC) used in LASS. A lot of planning went into programming LASS so that you can just play the patches
without being an octopus (to operate a bunch of CCs simultaneously). Great care was taken to avoid Multitudes of CC assignments while maximizing
control.
For the sake of clarity throughout this users guide:
Short articulations means: Spiccato, Staccato, Pizzicato, Bartok Pizzicato. These patches have the ART script.
Long articulations means: Legato patches, Sordinos, Tremolos, Trills and Harmonics (basically any sustained articulation).
CC1

For cross-fading dynamic layers on all long articulations.

CC 2

This is used for cross-fading between non-vibrato and vibrato sounds (NV-Vib).

CC3

This is used as the default tuning CC for doing real-time performance tuning.

CC7

Used on all patches as the Main patch volume.

CC11

Used on all patches as an additional volume control.

CC64

Used to force legato phrasing on legato patches.

CC64 is also used to activate A.R.T. (Auto Rhythmic Tool).

CC83

Used to control the speed of portamentos and glissandos on all Speed Legato patches.
Used to shorten releases on all short articulations.

CC90

This CC can be user-reassigned but is used to bypass the Tuning Table script (bypassed by default).

CC110

This CC can be user-reassigned but is used for turning on/off the A.M.G. logic in the LASS Real
Legato script.

CC111

This CC can be user-reassigned but is used for turning on/off the legato mode in the LASS Real Legato script.
It is also used to bypass Release Triggered samples (RTs) on other patches.
CC111 is also used for controlling the velocity on all short articulations (see A.R.T. script section).

NOTE: In addition to avoiding CC conflicts with those mentioned above, you should not use the following continuous controllers
when playing LASS patches because they are being used by the scripts internally and will cause problems with the patches and their
performance:

CC15 DO NOT USE

CC16 DO NOT USE
CC19 DO NOT USE
8

Patches Overview

Patches Overview

All LASS patches and Multis can be accessed through the LA Scoring Strings Library browser (shown above). Simply click on the Instruments tab to
open a folder hierarchy that reveals the different bit-depth instruments and Multis (Multis are discussed in the LASS Multis section of this guide). After
you click on the Instruments tab, the LASS library browser should look as follows:

By double clicking on the various folders, you can navigate to the different instruments and patches. If you want to return to a previous folder (or go up
in the folder hierarchy), you can click on the up arrow below the instruments tab (to the left of 24-bit in the image above).

Patches Overview

There are a few things that many of the LASS patches share in common. A great deal of effort was spent in making patches and conventions
consistent. Here are some important things to know about LASS:
All patches

use CC11 to control volume in addition to CC7 used as a master volume.

use CC3 to ride the Tune Amount Knob in the Tuning Script.
are set to have CC7 at 127 = 0db in the options menu.
have an EQ page and preset. The EQ preset is a good starting point but please
also try the patches without EQ. *** Please try our Stage and Color feature.
use CC90 to activate and bypass the Tuning Script.

All sustain patches

use CC1 to control the different dynamic layers.

All Legato Speed patches

use CC83 to control the speed of the portamentos or glissandos.

All short articulations

(spiccato, staccato, pizzicato)

use CC83 to shorten the duration of the notes.

use CC111 to control the Velocity Attenuator.
use the A.R.T. script.

All non legato sustain patches use CC111 to turn Release Trigger samples (RTs) on/off.
All sustained samples

are looped.

Featured LASS Scripts:

ARC The Audiobro Remote Control is a Multi script and is the new nerve-center for LASS.
LASS Real Legato REAL legato performance samples meticulously programmed and scripted for
non-repetitive legato transitions and real-time control of legato articulations.
A.R.T. (Auto Rhythm Tool) an advanced (yet simple to use) rhythm and accents script with
humanization features.
Trill Script the script intelligently triggers trills diatonically in any key with just 1 Key Switch.
AA & DNH Auto Arranger & delay and humanization to do auto-divisi and humanization in real-time.
CC Table allows you to create your own volume curves for sustain and legato patches.
A.M.G. Anti Machine Gun. Triggers alternate samples to avoid sample repetition.
Tuning Tool allows you to create your own tuning table and add tuning randomization to patches.
TIP: If you are going to be playing a lot of unison by layering all the divisis and playing chords at the same time, you may be taxing your
computer and hard drive quite a bit. Instead, you could try to load the Full Mix version of those sections. That is what the Full Mix patches
were designed for.

10

Legend
l l l = Available in LASS Full
l = Available in LASS First Chair
l = Available in LASS Lite
l = Only available with LASS LS

(Legato Sordino)

Esp Leg = Espressivo Legato

NV = Non Vibrato
NV-Vib = Non-Vibrato to Vibrato
Leg = Legato
Port = Portamento
Gliss = Glissando
Sord = Sordino
* The 2nd Chair patches are
derived from the First Chairs
sample pool but they are
programmed in a way which
avoids phasing.

Esp

with LASS LS (legato sordino). These are marked in red.

Leg
&

for the Sordino Legato articulations that are only available

Po
rt
Leg
,P
o rt
&G
NV
-Vi
liss
bL
eg
&P
NV
-Vi
o rt
bL
eg,
Po
Tre
rt &
mo
lo L
Gli
ss
eg
&P
Tre
mL
o rt
eg,
Po
Tril
rt &
ls L
Gli
eg
ss
&P
Tril
o rt
ls L
eg,
Po
rt &
Ale
ato
Gli
ric
ss
Esp
(eff
Ale
ect
ato
s)
ric
NV
(eff
Ale
ect
ato
s)
ric
So
r
d
Sp
(
e
ffec
icc
ato
ts)
s (R
R
Sta
)
cca
tos
(R R
Piz
)
zic
ato
(R R
Ha
)
rmo
nic
s
So
rdin
os
us t
ain
2nd
s
Ch
air*
Ba
rtok
Piz
z
So
rdin
oL
eg
&P
So
rdin
o rt
oL
eg,
Po
rt &
Gli
ss

All of these articulations are available in LASS Full except

Esp

Patches Overview

LASS Articulations

Violins I
1 player First Chair

4 player ensemble A

4 player ensemble B

8 player ensemble C

16 player full section mix

1 player First Chair

4 player ensemble A

4 player ensemble B

8 player ensemble C

16 player full section mix

1 player First Chair

3 player ensemble A

3 player ensemble B
6 player ensemble C
12 player full section mix

1 player First Chair

3 player ensemble A

3 player ensemble B

4 player ensemble C

10 player full section mix

1 player First Chair

2 player ensemble A

2 player ensemble B

4 player ensemble C

8 player full section mix

Violins II

Violas
l

Cellos
l

Basses
l

l
l

l
l

Ensemble patches include: Esp Sus, Staccato, Spiccato, Pizzicato, Tremolo, Sordino, Harmonics and Glissando FX.

11

LASS Real Legato Patches

LASS Real Legato Patches

LASS Real Legato patches are very easy to play. Basically, you play legato transitions by either overlapping notes as you play or by pressing down
on the sustain pedal as you play a melodic phrase. If you do use the sustain pedal, make sure you release it before you release the last note of the
phrase to hear the release trigger sample (RT).
Depending on the velocity at which you play the notes, you will trigger either a clean legato, portamento or glissando performance. Generally the
harder velocities trigger legato samples, medium velocities trigger portamentos and very low velocities trigger glissandos. However, all keyboard
controllers react differently, so you can adjust the scripts settings to suit your keyboard and playing style. Also, when you play a chord, the Real
Legato script will interpret it as a chord and play all the notes. All LASS sustained samples are looped. For a more in depth explanation of the Real
Legato features, see the section LASS Real Legato script.

12

LASS Real Legato Patches

Legato Patch Overview

Remember: Esp Leg = Espressivo Legato, NV = Non Vibrato, NV-Vib = Non Vibrato to Vibrato

Patch Names

Description

Leg Sus

These are legato sustain patches with vibrato. They include portamento and glissando articulations.

Leg Sus NV-Vib

These are non-vibrato to vibrato legato sustain patches. They include portamento and glissando
articulations.

Tremolo Legato

These are the legato tremolo patches. They include portamento and glissando articulations.

Trills Legato

These are the legato trills patches with intelligent major and minor trills. They include portamento and
glissando articulations.

For a more in depth explanation of the Real Legato features, see the section: LASS Real Legato script.

Sample Loading and Purging

In LASS 2, all Real Legato patches have the ability to load and purge all the transitions samples. By doing this, we have cut down on the number of
patches and made LASS easier to use.
There are 3 different typed of Articulation modes to load in the Load/Purge menus:
DFD artiuculations take the least RAM
Speed Lt (Lite) take more RAM
Speed takes the most RAM
Tip: For a lot of film-score type music you might not even need the glissando articulations. You could save quite a bit of RAM by purging the
Glissando samples. This is done via the Play articulation drop-down menus (read more about this in the Real Legato Script section).
The Speed and and Speed Lt articulations have been programmed to give you 100% real-time speed control of all portamentos and glissandos
no matter what dynamic... or even if youre in mid-crescendo the performance is transparent. These Speed Control patches (which use CC83 to
13

LASS Real Legato Patches

control the speed of the intervals) take more ram, so (as you can see above) DFD articulations were done for those who are concerned about ram.
All the Legato patches have dynamic layers controlled by CC1 (Mod Wheel). All patches throughout LASS have CC11 as an additional
volume control. All LASS patches also use CC7 as a patch master volume controller.
All patches are in DFD mode (Direct from Disk saving you RAM) except for those that have the word Speed in them. Speed patches
are more RAM hungry because the Speed controllable samples reside in RAM.
So what does Direct from Disk technology do? The basic idea is that patches or samples in DFD mode work by first loading a small amount of the
sample into RAM just enough so that when a note is struck, the hard drive has enough time to locate the sample file and start playing it back. The
benefit is you can play patches that might otherwise take entire gigabytes of RAM in Sampler mode. The drawback is that the maximum voice count is
dependent on the speed of the hard drive.
Note: The reason there are no cello or bass ensemble glissandos was to save the players fingers from being shredded by the long and
brutal glissando charts. The portamento articulation would cover most of these situations for the cellos and basses and it seemed wrong
to force these great players to abuse their fingers on those large instruments.

14

Short Articulation Patches

Short Articulation Patches

All short articulation patches use the A.R.T script (Auto Rhythm Tool). These patches use CC1 to shorten the duration of the notes and CC111 to
control the velocity attenuator (see the A.R.T section for more details about these patches).
Patch Names

Description

Staccatos

Round Robin / Random with the A.R.T. script. See the A.R.T. script section for more information.

Spiccatos

Round Robin / Random with the A.R.T. script.

Pizzicato

Round Robin / Random with the A.R.T. script. and the A.M.G. script for more variety.

Bartok Pizz

Bartok Pizzicato for Basses only. These are Round Robin / Random with the A.R.T. script and the
A.M.G. script for more variety.

There are some Loose versions of the staccatos for the basses and cellos (the names of the patches end with the word Loose). These were
programmed differently than the typical staccatos. The typical staccatos were edited very carefully so that they would perform well with the A.R.T.
script. However, the attacks might be too tight for some people, so I included Loose versions of patches (when needed) where the attacks are
unaltered but do not interact quite as well with A.R.T. as the non-loose versions.
15

Short Articulation Patches

If you play rapid repetitions on the Spiccato or Staccato Multis, you may hear sample build-up which might not sound natural. In this case, try
riding CC83 (this shortens the duration of the notes) and youll clean up the sound and will hear more detail. In addition, this can remedy some noise
build-up too. If on rapid repetitions you hear hiss,try raising the Mod Wheel.
A note about Spiccato Multis and patches in general: The spiccato articulation is generally not a very loud one. But depending on the
music and arrangement at hand, it may be desirable to have the spiccato phrases cut through the mix more than what might otherwise
happen in a spiccatos true dynamic range. For this reason, the Spiccatos (and Staccatos for that matter) have a wide dynamic range to
accommodate most creative choices. If you want to stay truer to the dynamic range, you may want to lower the volume of the higher
velocity passages with CC11 or simply reducing the main volume (CC7) can be enough.

16

Ensemble Patches

Ensemble Patches
Since LASS 1.5 (with the introduction of the Auto Arranger) and especially now with LASS 2.0, LASS Ensemble Patches are a little
outdated insofar as usefulness. We left them in the library in their original LASS 1.5 form since they may be useful as scratch pad
patches to gather your ideas. But Using the Auto Arranger yields MUCH better results.
LASS Ensemble patches are combinations of different string sections in a single patch. The idea is to have patches of
the full orchestral string sections across the entire keyboard. This allows you to play the basses, cellos, violas and violins
on 1 MIDI channel on just 1 patch. Some developers call these patches combination patches or Combis.
Patch Name

Description

Ens Spic Low

Full mix Bass and Cello spiccatos meant to be used with the Ens Spic High patch on the
same MIDI channel.

Ens Stac Low

Full mix Bass and Cello staccatos meant to be used with the Ens Stac High patch on the
same MIDI channel.

Ens Spic High

Full mix Violins and Violas staccatos meant to be used with the Ens Spic Low patch on the
same MIDI channel.

Ens Stac High

Full mix Violins and Violas staccatos meant to be used with the Ens Stac Low patch on the
same MIDI channel.

Ens Esp Sus

Full mix Espressivo sustained Basses, Cellos, Violas and Violins.

Ens Esp Sus 3 Layer

Full mix 3 dynamic layer Espressivo sustained Basses, Cellos, Violas and Violins.

Ens Harmonic

Full mix Harmonics of Basses, Cellos, Violas and Violins.

Ens Pizzicato

Full mix Pizzicato Basses, Cellos, Violas and Violins.

Ens Tremolo

Full mix Tremolo Basses, Cellos, Violas and Violins.

Ens Sordino

Full mix Sordino (muted) Basses, Cellos, Violas and Violins.

Ens Div Gliss FX Down

Full mix glissando-down performances of various intervals. Play these with the sustain pedal
down and random arpeggiated clusters to get an aleatoric affect.

Ens Div Gliss FX Up

Full mix glissando-up performances of various intervals. Play these with the sustain pedal
down and random arpeggiated clusters to get an aleatoric affect.

The reason there are some Ens Low and Ens High patches is to allow each patchs register its own EQ if needed. The EQ setting for the Ens Spic
Low may not be appropriate for the Ens Spic High (for example) and by splitting the patches into two different patches (on the same midi channel) this
allows you move flexibility in mixing.
17

LASS Real Legato Script

LASS Real Legato Script

The LASS Real Legato script is LASSs legato engine. It does a lot of things behind the scenes so that you can focus on playing realistic legato lines
and melodies in real-time rather than micro-editing your performances. Depending on your settings, the velocity at which you will play legato lines
dictate the type of legato transition played. Generally:
A harder velocity will trigger a clean legato performance.
A medium velocity will trigger a portamento performance.
A very soft velocity will trigger a glissando performance.
CC1 (Modwheel) will control the dynamics think of it as bow pressure.
On NV-Vib patches, CC2 will control how much vibrato or non-vibrato is heard.

18

LASS Real Legato Script

Here are the basic performance CC assignments:

CC#

Explanantion

CC1

This controls the dynamic layers of the patch (ppp through fff) and also the volume of those layers.

CC2

This lets your crass-fade between Non vibrato and vibrato samples (on NV-Vib patches).

CC3

This lets you ride the Tune Amount knob in the Tuning script. Great for subtle or drastic tuning effects

CC7

This controls the master volume of the patch.

CC11

This adds one more level of volume control for added flexibility.

CC90

This turns On/Off the Tuntion script.

CC110

This (default) allows you to choose the various A.M.G. (anti machine gun) modes in real-time.

CC111

This (default) allows you to turn on/off the legato modes in real-time.

CC83

This controls the speed of the portamentos and glissandos in real-time on Speed patches.

CC64

This (Sustain Pedal) forces whatever you play to be played legato

.
TIP: Three CCs (CC1, CC7 and CC11) are consistent throughout LASS in all sustain and legato patches.

The script can sense whether youre playing chords (like double stop) or legato lines and if you turn the legato mode off (this can be done in real-time
via CC111) you can also play these patches as regular non-legato sustain patches. Holding down the sustain pedal while in Legato mode allows
you to play legato lines without overlapping the notes with your fingers.
If you load the Legato Speed patches, youll be able to control the speed of the portamentos and glissandos using CC 83. CC83 is hard wired to
control the speed of the transitions, so its best if you program your keyboard controller or MIDI fader hardware to transmit CC83.

(continue on next page)

19

LASS Real Legato Script

The Performance Page

1. The AA button This gives visual feedback as to whether the Auto Arranger is On or Off. You can also click on it to turn the Auto Arranger on.
2. Play menu Below the Play header, you will see 3 drop-down menus that look like triangles next to the words leg, port and gliss. These
are the Load and Purge menus for each articulation. Instead of having a multitude of patches with different articulations loaded, here you have
one master patch and you can decide what articulations to load.. and what RAM options you want to choose for these articulations.
RAM Mode
Unload
DFD
Speed Lt

Speed

Description
This option unloads/purges the samples from RAM. Then can always be loaded back in later if you want
by choosing on of the options below.
DFD means Direct From Disk. This option takes up the least amount of RAM but does not allow you to
control the speed of your transitions (leg, port, gliss).
This option is a Lite version of the Speed mode. It allows you to change the speed of the articulations
with CC83, while not taking up as much RAM. It almost has the same range as the Speed versions... but
not quite.
This fully loads the transitions into RAM... thereby giving you the most control of Speed using CC83.

20

LASS Real Legato Script

3. Velocities This tells you at which velocities you will play the different legato articulations.

For example, based on the display above, if you:

Play a velocity between 51 and 127 you will play a legato articulation.
Play a velocity between 5 and 50, you will play a portamento articulation.
Play a velocity of 4 or less, you will trigger a glissando.
The above are the default settings. By changing the velocity values (item 6 and 7) you can find the velocity settings that best suits your playing
style and keyboard controller sensitivity.
4. Legato Menu
On Turns on the Legato mode of the patch and can be controlled in real-time using CC111 (default). Make sure to play line while overlapping
notes to invoke the legato articulation. Or play with the pedal down.
Trig This menu gives you the option of having the Legato behave like the old analogue type synths legato mode and can be controlled in
real-time using CC111 (default)
CC This is the CC number to control the Legato mode. It is user definable but is set to CC111 by default.
5. A.M.G. Menu A.M.G. stands for Anti Machine Gun. The term machine gun is used to describe the sound of the same sample being
triggered over and over again. The A.M.G. logic is used to eliminate the repetitive nature of samples by playing alternate samples when you
repeat the same notes. There are 4 types of A.M.G.:
Leg this only alternates the samples on the legato transitions (and portamento and glissando).
Sus this alternates the sustained samples
CC This is where you input the CC number with which you can select the A.M.G. mode in real-time.

21

LASS Real Legato Script

NOTE: Since A.M.G. borrows samples from higher or lower pitches than originally intended, there can be a slight change in timbre.
Sometimes this is a welcomed thing, at other times, it may distract you. Use your ears and decide what works best for you under the
circumstances.
TIP: If the changes in timbre (formant shift) are distracting to you, by blending the different divisi sections (A,B,C) you can mask this
formant shift and still retain the benefit of non-repetitive samples.
6. Options
Rel. Trigger This lets you turn On/Off the release tails of patch. Release tails make the ending of the notes sound much more realistic.
Leg RT This lets you turn On/Of the RTs during legato transitions. This can add more instrument sound between legato notes. It is subtle.
EQ This button turns on/off the EQ for this instrument. The full EQ section can be seen selecting EQ page in the page menu (item 15).
Slop Detect This prohibits chords from being accidentally triggered when playing in legato mode. This can happen when your finger plays 2
keys instead of one resulting in a clumsy sound. This button prohibits this.
Chord ms This is the number of milliseconds the script will allow before considering a note being played a legato note as opposed to a
chord. This allows you to play chords and legato lines without changing the legato mode.

7. Page Menu This is where you choose what page of controls you want to access: Performance, Legato Tweak, and the EQ page.
8. NV-Vib controls This applies only to NV-Vib patches.
NV Clicking on this lets you Load/Purge the non vibrato samples. NV samples are loaded when lit.
The Arrow When NV samples are loaded, clicking on the arrow to the OFF state simply prohibits the NV samples from being played and will
cut your voice count in half. This is very useful if you only need the NV samples on occasion and dont want to purge them... yet still want to play
vibrato samples most of the time. You can assign a CC control the arrow.
The blue NV-Vib indicator This is a slider that is by default assigned to CC2. Using CC2, you can cross-fade between non-vibrato and
vibrato sounds.
Tip: Please view or online video tutorial on Assigning CCs in LASS.

22

LASS Real Legato Script

Legato Tweak Page be careful on this page!!

1
4

3
2
5

When you play a legato phrase, the note which precedes the legato interval will be referred to as the first note. The second note is the actual legato
note. If you would like to customize the way the LASS Real Legato script transitions between the first and second notes, this is where you do it. BE
VERY CAREFUL...A lot of time has been spent getting good numbers for these settings (and everything else that is going on behind the
scenes in this script) so make sure you understand what you are doing by reading the explanations below before trying to Tweak these
settings.
1. Edit Leg/Port/Gliss Menu For reasons too complicated to explain, BEFORE you turn any knobs on this page, make sure you select the
type of legato you want to adjust from the drop-down menu EVEN if it is already showing when you come to this page. Otherwise you
may inadvertently mess up the settings for one of the other transitions by mistake. Of course you can always just re-load the patch to return to the
default settings, but you can avoid unnecessary frustration by adhering to the choose your legato type from the drop-down menu first rule.
2. First Note Fade Out This controls how fast (in milliseconds) the first note will fade out as the legato second note is triggered. This knob and
the Second Note Attack knob should provide you with most of what you need in customizing the transitions. For faster passages, try reducing
the First Note Fade Out. Youll find it sounds better on really fast passages this way. The default settings in LASS are designed to provide a good
performance for most applications, but if you want to play faster lines and perhaps even runs, Id recommend shortening the First Note Fade Out.
3. Second Note Attack This dictates how fast (in milliseconds) the second note (the legato note) will transition-in from the first note. On really
fast runs, you can try making the attack faster...use your ears to judge. I find that just reducing the First Note Fade Out does the trick most of the
time for faster passages.

23

LASS Real Legato Script

4. Curve This is the shape of the fade-in. This knob is governed by the From% and To% fields, so it is only for a visual guide. A value of
100 will yield a steep version of this type of slope
, a value of 0 will yield a linear slope
and a value of -100 will yield a steep fade in shape
like this . Again, as much as youd like to tweak this knob, it is really only for informational feedback purposes. The From% and To% fields are
the only way to really control the Curve knob.
5. From% and To% These 2 fields control the amount that your Mod Wheel will affect the Curve of the fade in. By setting the From% to 0 and the
To% to 100, the Curve knob updates its value when you play notes and change the CC1 levels. Extreme From% and To% settings (like -100 or
+100) are not typically ideal. Youll need to find the sweet spot of where the Curve and fade-in time sounds best on the fff samples (Mod Wheel
all the way up) and where the Curve sounds best on ppp samples (when the Mod Wheel is all the way down).
NOTE: Considerable time was spent tweaking these patches during development, so adjusting the First Note Fade and Second Note Attack
should suffice for most situations.

24

LASS Real Legato Script

EQ Page

This is where you set the EQ and you can save your EQ setting to any of 10 preset slots. Freq is the center frequency of the EQ band, Q is the
bandwidth, and Gain is the amount of gain you would like to apply to the frequency and its bandwidth. Youll notice that there are three of each knob.
This is for setting up to 3 different frequencies, bandwidths and gains per patch.
1. EQ Menu This is where you can choose some pre-programmed EQ settings or you can save your own settings. (see image at right)
2. Freq This is the frequency knob of the EQ. It will display the frequency in hertz (Hz).
3. Q This is the bandwidth of the frequency. It will display the bandwidth in octaves (oc).
4. Gain This is the gain (boost or cut) of the frequency. It will display the cut or boost in decibels (dB).
5. EQ This button turns the EQ on or off.
Note: The EQ preset is a good starting point but please also try the patches without EQ. EQ is such a personal thing, and depending on
the job at hand, different EQ settings could be more appropriate.Also, Make sure you try out the ARCs Stage & Color settings. One LASS
2s greatest features are the sonic profiles based on famous scores and recordings

25

A.R.T. Auto Rhythm Tool

A.R.T. Auto Rhythm Tool

The Auto Rhythm Tool (A.R.T.) is the engine behind all short articulations in LASS these would include: spiccato, staccato, pizzicato. By
simply holding down the sustain pedal, you activate A.R.T. This allows you to play rhythmic patterns with unprecedented control and ease in
synchronization with your DAW...and its really fun!! Sometimes its very hard to play detailed accents and rhythms on weighted keyboards even at
slow tempos...trying to do it at fast tempos can seem like a lost cause. This is where A.R.T. really shines. By taking a few minutes to learn A.R.T.s
controls, youll dramatically improve the control you have over all your short articulations.

There are 10 user-editable presets that can be changed on the fly with Key Switches.
There is an Anti Repetition page that allows you to choose between Round Robin and Random.
There is a Velocity Attenuator page that allows you to choose the percentage by which you reduce your velocities.

26

A.R.T. Auto Rhythm Tool

Here are the basic performance CC assignments:

CC83

Controls the duration of the articulations. This used to be CC1 in LASS 1+. This is very important at faster
tempos or rapid repetitions where you dont want the sample buildup sound. When CC1 is at 0, the release of
the note is unaffected. As you raise CC1, you are shortening the release of the note.

CC7

Controls the master volume of the patch.

CC11

Adds one more level of volume control for added flexibility.

CC111

(default) Allows you to control the Velocity Attenuator (discussed later). VERY USEFUL!!

CC64

(Sustain Pedal) activates A.R.T.

The Rhythm Tool (Rhythm Page)

5

12

13

14

15
9

10

16
11

1. Load/Save You can load and save presets from disk. You can share your patterns with other composers who own LASS or use them to load
patterns in to other patches. The ARC can also do this.
2. Seq Length This knob lets you choose the Sequence (or pattern) length of your Pattern Table (item 8). In combination with the Note Value Menu
(item 6), you can choose (for example) if youd like your rhythm to be 16-eighth-notes long or 7-sixteenth-notes long etc.

27

A.R.T. Auto Rhythm Tool

3. Quantize This menu lets you choose whether you want Quantize on or off. The Quantize is a little different than you typical Sequencer Quantize.
In this case, the note value of the Quantize dictates how FAR AWAY from the beat you need to be before it quantizes your notes. So, if yu play very
accurately, It wont quantize you... but if you play outside the quantize value... then it will quantize you. So that way its only quantizing bad timing.
4. Retrigger When On, when new notes are played, the pattern is re-triggered from the beginning for the new note. When Off, as long as notes are
being played, they will all follow 1 cursor and the pattern will not be broken even when new notes are played.
5. EQ Menu This is where you can choose some pre-programmed EQ settings or you can save your own settings. (see image at right)
6. Note Value Menu Here you can choose the note value of your Table: 16th, 8th note triplets, 8th. Used with the Double (item 6) button, you can
effectively have the values of 32nd and 16th note triplets in addition to the regular (non double-time) note values.
7. Tempo X 2 This, in effect, doubles the playback speed of the rhythmic sequence displayed in the Pattern Table. So even at very slow tempos you
can achieve very fast rhythms.
8. Pattern Table This is where you can create your own patterns. You can choose how long you want your pattern to be (1 to 16 notes) buy adjusting
the Seq Len knob. The center line in the table has a value of zero. The top of the table is +25 velocity and the bottom is -25 velocity (with the caveat
that by choosing -25 you are choosing to omit this note from the sequence). By clicking above or below the center line, you are telling A.R.T. by how
much more or less of a velocity you want when playing back that segment in the Pattern Table. When A.R.T. is activated, it will sequence through the
table triggering the notes you have held down with a relative velocity to what you originally played on the keyboard.
For example, if you draw all 16 segments at a value of 20, when you play a note and hold down the sustain pedal, a series of notes will be played back
at a velocity of +20 to what you originally played...and at a speed based on the Note Value you assigned the sequence (item 12).
9. Marker Track This drop-down (displayed as the little square button 4) is a helpful visual aid that puts markers at every beat of your choice on the
Marker tracks to its right.

28

A.R.T. Auto Rhythm Tool

Anti Repetition Page

1
2

3
4

5
6

The Anti Repetition page allows you to control whether you want to use an intelligent Round Robin or Random algorithm to alternate repeated notes in your
playing. Whats the difference between Round Robin and Random? If we represent four middle C samples as 1,2,3 and 4; and we were to play a repeated
sequence of middle C, this is an example of a sequence of middle C samples being triggered using the 2 different algorithms.
Round Robin: 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4...
Random: 3 1 3 2 4 1 2 4 1 3 2 4 3 2 1 2 1 3 4 2 3 1 4 2
As you can see, with Round Robin (RR) the notes cycle in successive order...over and over. With Random (Rnd),
the notes form a random pattern. LASS also employs some intelligent decision making when using its RR or Rnd logic. In the case of a RR, all notes
played within a certain number of milliseconds will result in the same note groups being triggered. This is crucial for maintaining up and down bows in
concert with each other. Also, you can have the RR reset to the first group after however many seconds of no note activity using the Reset T knob.
In the case of Rnd notes groups, A.R.T. keeps track of all the notes you play. If you play a middle C (for example), and then play a bunch of other notes
but not middle C, the next time you play middle C you are guaranteed to not have the sample be the same one as the last previous C (even if hundreds of
other notes have been played since). This is crucial for ostinato phrases where the top notes tend to draw attention to themselves...if they are the same
samples...it sounds fake. A.R.T. avoids this.
1. Mode Display This display lets you know whether you are in Round Robin or Random mode. It also alerts you if
you reset (see 2).
2. Auto RR This button turns on the Auto Round Robin logic in A.R.T. enabling the Reset T knob (item 6).

29

A.R.T. Auto Rhythm Tool

3. Random Key Switch Click on this button to change the RND key switch to your own liking.
4. Round Robin Key Switch Click on this button to change the Key Switch assignment for setting A.R.T. to RR mode. When you play an RR key
switch, it will automatically reset the RR sequence to group 1.
5. ms This is the field in which you decide how many milliseconds of a window in time you want for chord detection.
All notes played within a certain number of milliseconds will be considered a chord and will result in the same note groups being triggered. This is
crucial for maintaining up and down bows in concert with each other.
6. Reset T This lets you choose how many seconds must pass without note activity for the RR counter to reset to 1.

Velocity Attenuator Page

2
3
The Velocity Attenuator is a very simple (yet powerful) tool that helps you control the velocity at which you play thereby increasing dynamic control. It
behaves like a velocity compressor by attenuating the velocity you play based on the percentage shown on the % of Vel knob (item 16). The percentage
(% of Vel.) amount is controllable in real-time by CC111 (item 17). For example, it can be technically very difficult to play rapid passages at low velocities
(especially with a weighted keyboard controller), but by reducing the percentage of the velocity output (with CC111) you can easily achieve lower velocities
(and thus lower dynamics) on fast passages. The Velocity Attenuator also affects the velocities created
by the Rhythm Tool.
1. Velocity Display This window displays the new velocity generated by the Velocity Attenuator based on its percentage (%) value.
2. Vel CC The Velocity CC input field allows you to change the controller value (default CC111) to another value. Keep in mind, if you change
this value, and you want to remain consistent with your patches, youll have to change this value on every patch that has the A.R.T. script. It is
recommended that you use CC111 unless there are some technical reasons you cant. In fact, this logic apples to all default CC assignments.
3. % of Vel Percent of Velocity is a knob that can be controlled manually, with the mouse or by CC111 (item 17) in real-time. It reduces the played
velocity by the percentage value displayed next to the knob.
30

Trills

Trills

2
The Trill patches help you play the correct diatonic trill in whatever key you are in with just 1 key switch. Its very simple to use and your chosen key
signature is displayed in the Key area (item #1). Basically you tell the Trill script what key you are in by pressing the major (or relative major for a minor
key) note of the key you are in. The key switch range is a fixed 1 octave range that you can choose with the Key Sel Oct field (item #2).
For example, if you are in the Key of C major, you would play the key C1. Thats it! Youll see what key youre in because the Key Display (item 3) will show
you. Now, as you play trills, they will all be in the key of C major. Even if you play a triad (3 note chord) you will get a diatonic triad trill. So a C-E-G chord
would result in a chord of trills playing the trills C-D, E-F, G-A.
For a minor key, you would play the relative major note of the minor key you are in. So, for example if you are in C minor, you would play an Eb (the relative
major key). Again, you will always know what key you are in because the Key Display (item 3) will keep you updated.
Here again are the same CC assignments:
CC1

Controls the dynamic layers of the patch (ppp through fff) and also the volume of those layers.

CC7

Controls the master volume of the patch.

CC11

Adds one more level of volume control for added flexibility.

CC111

(default) Allows you to turn on/off the release triggered notes in real-time.

31

Sordino Sustains

Sordino Sustains

Sordino sustains are simple sustain patches (unlike the Legato Sordino patches that come with LASS LS (Legato Sordino).
Here are the same CC assignments:
CC1

Controls the dynamic layers of the patch (ppp through fff) and also the volume of those layers.

CC7

Controls the master volume of the patch.

CC11

Adds one more level of volume control for added flexibility.

CC111

(default) Allows you to turn on/off the release triggered notes in real-time.

Rel. Trigger This button used in conjunction with CC111 (default) turns on/off the release triggered samples.
EQ This button turns the EQ on/off.
Options Menu This is where you can choose pre-programmed EQ settings or save your own settings.

32

Harmonics

Harmonics

The Harmonics patches behave exactly like simple sustain patches except you can see the EQ on the front interface, have a Double Button and they do
not have any release triggers. Instead they have rather long release envelope
The Double Button turns on/off another layer of samples. This could be compared to having players double track themselves in a recording session
(hence the name) and thus makes the patch sound bigger.
Here are the same CC assignments:
CC1

Controls the dynamic layers of the patch (ppp through fff) and also the volume of those layers.

CC7

Controls the master volume of the patch.

CC11

Adds one more level of volume control for added flexibility.

33

Auto Arranger

Auto Arranger
***For a list of Auto Arranger multis and patches, please see the LASS Ver1.5 Patch List PDF.
The Auto Arranger (AA) is a feature exclusive to LA Scoring Strings that allows you to play polyphonic legato lines, chords and phrase while
splitting your chords into divisi sections or different instruments sections (if you prefer) and maintaining an accurate player count as opposed
to having the typical cumulative player count on chords as with other stringed sample libraries. This auto divisi feature can be a HUGE timesaver as well as a VERY inspirational composing tool. The Auto Arranger easily tracks the voices and splits them into divisi parts while retaining
all the legato/portamento/glissando articulations.
Note: The Auto Arranger employs a look ahead feature that can be tailored to your playing style and may result in noticeably latency. To
change the look ahead timing, you can do so in the Chord Detection Chord ms field in the expert page. This look ahead latency can
be reduced to an undetectable level especially on longer sustained articulations, but you will have to play more accurately or quantize your
performance.
To get a better understanding on how to use the Auto Arranger, please view the online or downloadable
video tutorials.

The Sustain Pedal

The sustain pedal works slightly different when AA is engaged to allow for a more convenient of the Auto Arranger. When new notes are played while the
sustain pedal is pressed (CC64 > 63), the divisi rules will be re-evaluated only for the notes that are still held down. Releasing notes will not result
in division rule re-evaluation, that aspect of the sustain pedal mechanism is not altered.
Please note that the sustain pedal on non-legato sustain articulations will only work when AA is On.

34

Auto Arranger

Auto Arranger Basic Edit

The Auto Arranger script (AA) has two main screens: one for a general overview called Basic Edit (the default)
and another one for greater control, called Expert Edit.
The Basic Edit page has the following controls:

1
2
3

4
5

8
7

9
10

1. Divisi rules/Delay and Routs menu this allows you to navigate between the Auto Arranger and Delay and Humanization pages.
2. Auto Arr. On/Off a button that indicates whether Auto Arranger is On or Off. If AA is Off, the instruments behavior will be identical to the default
LASS behavior.
3. AA Byp. CC you can set a CC to control the On/Off state of AA. This is by default CC30 on all patches.
4. Preset Divisi Role menu you can select a role for the patch, in which it should react to incoming notes when AA is on. A role is essentially a
preset of different divisi rules. For example A in 3-part means that the given patch will act as a quarter divisi that gets assigned to the highest note.
Please keep in mind, that these preset names try to convey not only the role, but the division ratios as well. So the above role assumes that the other
two divisis in the 3-part will be another quarter section and a half section. A 4-part means the solo-quarter-quarter-half section split.
5. Lo you can set the lowest note this patch will consider to play, any notes below this will be discarded.
6. Hi the highest note the patch will take into consideration when determining which note to play.

35

Auto Arranger

7. No Divisi Retrigger/Retrigger Divisi if this button shows Retrigger Divisi , then upon releasing a note the patch will re-evaluate the remaining
notes in the chord and select a new note to play according to its rules. If sustain pedal is down and the patch gets assigned to the same note it had
before itll play it again.
8. Presets menu you can store up to 12 Auto Arranger presets, you can select the currently used and edited one from this menu.
9. Preset keyswitch menu you can select a preset via keyswitches, here you can reassign the selected preset to a new keyswtich note. By default the
12 presets are mapped from F6 onwards (above).
10. Go to expert/basic edit switch between the two main views of the AA script.

Auto Arranger Expert Edit

1
3

2
4

5
6

The Expert edit view offers additional editing capabilities:

1. Play from chord menu which note should the patch play from the notes of the chord. This can be considered as a main, general rule, regardless of
any conditions. The notes are ordered in a descending order, only notes within the patch range adjustable by Lo and Hi will be considered.

a) Note 1-12 play the highest, second highest, ..., 13th highest note
b) None do not play any note on this preset

2. If not present menu if the note selected in Play from chord is not present in the current chord, you can specify what the patch should do.

a) Play first the patch should play the highest note

b) Play closest the patch should play the closest note
c) Play none do not play anything

3. Change note the selected note can be transposed by +/- 1-4 octaves.
36

Auto Arranger

4. Chord ms the chord detection time. This sets the time-frame within which all notes of the chord should be pressed down. Notes arriving after this
time will be considered as notes of a new chord.
5. Rls ms the release time, how many milliseconds the selected note should play after key release. This is only necessary for non-sustained legato
playing, so that the Real Legato script will be able to play legato lines with the non-overlapping fingered legato playing style. When the sustain pedal
is down the release time will be discarded.
6. Set up sub-rules you can set up sub-rules or exceptions for a given chord note count situation, resulting in a different note selection from the chord
than specified by the Play from chord menu.

Set Up Sub-Rules
In the sub-rules page you simply have to toggle the note-counts youd like to assign a sub-rule to and select the appropriate note from the menu appearing
under the toggled button.

1
2

1. If <n> notes by toggling this button you can set a sub-rule when the chord held down consists of <n> notes.
2. Play note <n> menu which note to play, from 1, 2, , <n> or none.
3. Back to main rule return to the Advanced edit page.

37

Delay and Humanization Script

Delay and Humanization Script

1
2

5
6

7
8

The Delay and Humanization script is always in the first slot of almost every patch in LASS. The reasoning for this script is to add timing variations to
each of the different divisi sections so they sound more natural when being played together. Also, you can be very literal if youd like by applying laws of
physics to the various patches. For example, if youd like to assign one of the divisi sections to the back rows of players in their section, you might add 1
millisecond of delay per every foot they are away from the front row players so perhaps 20 ms of delay. (At sea level, sound travels approximately 1
foot/ms.)
You can also add randomizations (item 3) of the timing of the MIDI performance to add variations between the patches...
this also adds a human element to the performance.
1. Auto Arranger and Delay and Humanization (DNH) menu This menu allows you to choose between the
Auto Arranger or Delay and Humanization portion of the script that you want to see and edit.
2. Delay Display This window shows you how much each sample is delayed when you play it. It takes into account the actual delay and the random
timing added or subtracted to the delay. ms delay This is the input field where you can enter how many milliseconds delay youd like for the patch.
3. Rnd ms This is the input field where you enter how much variance there is to the delay. The value has to be
smaller than the ms delay value (the script takes care of this). For example, if you have a delay setting of 30 ms,
and a Rnd ms setting of 10 ms, the note may be delayed anywhere between 20 to 40 ms. The math is basically
30ms +/- 10 ms = 20-40ms depending on what the randomly-generated value is.
4. Disable/Enable This is like a bypass button. Most of the helper scripts are set to disabled by default. It is up to
you to decide if you want to activate them within Kontakt Sampler (again, you dont have access to these features in Kontakt Player).
38

Delay and Humanization Script

5. On/Off CC Assignment This menu lets you choose what CC youd like to use to remotely turn On/Off the DNH script. As with all CC selections,
please make sure you do not choose a CC that is being used by something else in the patch or else you will have CC conflicts.
6. DD Delay On/Off This button allows you to delay your CC performance in addition to your notes (as opposed to just the notes) so your swells and
dynamics will also be delayed..
7. CC Re-route Enable Buttons These buttons will turn ON/OFF the CC routing portion of the script. Once engaged, you can assign a new CC which
will be routed in place of the old CC (see item 8).
8. CC Re-route Entry Fields These numeric entry fields allow you to choose a CC number that replaces the CC number displayed on the right hand
side of the field

39

CC Table Script

CC Table Script
2

3
4

The CC Table script is where you can change the way any sustain patches responds to the Mod Wheel (CC1).
Note: You can always go back to the default curves we programmed by choosing Default in the CC Curves Preset Menu (item 3).
1. Load / Save menu This menu lets you save presets that you can then load into other patches. Also consider using the ARC to apply the same
changes to many patches.
40

CC Table Script

2. Dynamic Layers and Layer Volume This menu brings you to either the Dynamic Layers Table or the Volume Table.
3. CC Curve Presets Menu This menu allows yout to save the Dynamic Layers Table and the Volume Table to any one of 10 presets .
4. Dynamic Layers Table In this table you decide what dynamic layers (ppp, mp, f, ffff) are heard at specific CC1 values. Youll notice in the top table
there are three yellow horizontal lines spanning the table and creating four tiers. These four tiers roughly divide the table to illustrate the approximate
ranges where the different dynamics are heard. For example, if you drew a table where all the bars were in the ppp tier, then no matter what range your
CC1 would be at, youd hear only the ppp layer. This is convenient when you want to alter the CC1 playback response of certain dynamic groups.
5. % CC Button and CC Attenuation Knob This allows you to reduce the dynamics of a passage by turning the knob down. This is useful if you like
your dynamics but you just want to lower them by a certain percentage. The button turns the functionality On/Off.
6. CC Curve Knob Turning this knob allows you to choose from a variety of curves as opposed to drawing in your
won curves as described in items 5 and 6.
7. Smooth Button This button will smooth whatever curve is showing. You can use it multiple times to
increase smoothing.
8. Volume Table In this table you basically draw the shape of the volume curve you want for the patch. When
used in conjunction with the Dynamic Layers Table, you have total control over which dynamic layers are played
at what volumes.

41

Tuning Tools

Tuning Tools
1

6
7
8

9
10

14

12
11

13

15

The Tuning Tools script gives you the control to de-tune any note or groups of notes by as much as a minor 3rd (300 cents) as well as develop microtonal scales. This was mainly designed to give each divisi section a little variety (tuning-wise) by drawing a curve in the tuning table and adding some
randomization to the tuning each time a note is played. I cant emphasize enough how much this feature can change the character of a string section sound.
By default, this script is left as Bypassed (item 4). But I highly recommend that you familiarize yourself with this script and experiment. Ive found that
by tuning the different divisi sections apart from each other (subtly 10 cents or so) that it somehow emphasizes the vibrato in each of the sections. For
example, if you leave the divisi A section alone, but add about 10 cents to the divisi B and -10 cents to the divisi C... and have a little randomization (items 5
and 6), then a special magic starts to happen. It can be subtle, but when applied to all the string sections, it can have a wonderful effect on the sound.
1. Load / Save menu This menu lets you save presets that you can then load into other patches. Also consider using the ARC to apply the same
changes to many patches.
2. Range Tuning / Micro Tuning Click on either heading to choose which table to show: Range Tuning or Micro Tuning.
3. Preset You can save up to 5 presets in persistent memory in this drop-down menu. Each preset saves all the settings and each setting can be
assigned to a Key Switch (item 8). Make sure you save the patch with your new settings... this way they wont be lost when quitting out of the patch.
Note: If you save the presets within a host (Logic, Cubase etc) as long as you save your project, the tuning settings will be saved.
42

Tuning Tools

4. Tuning On/Off This button tells you the state of the Tuning script and is updated when you use CC90 (assigned to control the Bypass button by
default). You can also click this parameter with the mouse button.
5. Tuning Table This is where you can draw a tuning curve. The center line = 0 cents and the top of the table is +50 cents, whereas the bottom of the
table is -50 cents. Sometimes string players play a little sharp when playing in the extreme upper registers... this can be drawn into the table and can
help maintain that human sound. You can also make the strings sound like a group of drunken sailors by using exaggerated tuning values in the table.
6. Tuning CC This CC (default set to CC 3 but is user definable) lets you ride (in real-time) the amount the tuning tables affect the patchs tuning. This
can range from subtle to sounding like an aleatoric string effect.
7. CC Byp This is the input field that allows you to choose the CC to control the Bypass button on the Tuning Script. The default is 90.
8. Preset You can save up to 5 presets in this drop-down menu. Each preset saves the tuning tables values, plus the RND Hi and RND Low settings.
9. Note Activity This window displays what note you are playing. When the Script is Active (item 8), then youll see the bottom table light up as you
play. This helps you in gauging which notes you want to tune. NOTE: When an A.M.G. script is active, you will see alternate notes in the lower table
being triggered. Bypass the A.M.G. script so that you can reliably see what you are doing while drawing your curves.
10. Clear This clears the table so that you have a clean slate to start from.
11. Shift knob
This knob lets you shift your tuning changes up or down the range of the instrument. This can be very useful when considering other
patches settings.
12. Max Tune menu This menu lets you choose the range of the table: 50 cents through 300 cents. (1/4 tone to minor 3rd).
13. Tune Amt knob This knob (default set to CC 3 but is user definable) lets you ride (in real-time) the amount the tuning tables affect the patchs
tuning. This can range from subtle to sounding like an aleatoric string effect.
14. Rnd Hi In this input field you can control the range of a positive random number range being added to the tables tuning values. In this case, the Rnd
Hi shows a value of 6. That means there will be a random pitch tuning of never more than 6 cents above the actual Tuning Table.
15. Rnd Low In this input field you can control the range of a negative random number range being added to the tables tuning values. In this case the
Rnd Low shows a value of -5. That means there will be a random pitch tuning of never more than 5 cents below the actual Tuning Table.

43

Tuning Tools

Micro Tuning Table

This table lets you create micro-tonal scales that repeat across every octave. You can get very creative by doing drastic tuning and using the CC3 (tuning
amount) to create aleatoric sounds (string effects) even with regular patches. The pattern you draw here is repeated exactly the same way on eery octave,
thereby creating a repeated micro-tonal scale.

44

Aleatoric Strings (string effects)

Aleatoric Strings (string effects)

The Concept
In case your wondering, aleatoric strings is a term often used in film-scoring to describe string sounds that have randomness and dissonance that can
heighten the tension and drama in a scene. LASSs Aleatoric patches allow users to perform (in real-time) these types of dissonant string effects that are
so sought after in film scores. By assigning the all three divisis to a patch and allowing for individual control of tuning and modulation, you are able to create
many varieties of dissonant strings while maintaining control of how it reacts.

45

Aleatoric Strings (string effects)

Aleatoric controls

Load / Save lets you save the settings

of the patch to be shared with others or
loaded into other Aleatoric patches.

Solo buttons for each divisi A, B and C.

This helps with programming your divisi
sounds in isolation.

Aleatoric / EQ
menu this dropdown menu lets
your choose between EQ settings
and the Aleatoric
page.

Pitch Control (CC83

by default) lets you
control how much you
want to de-tune the
string based on your
PITCH knobs settings.

Speed lets you

choose the speed
for the LFO for each
divisi.

Modulation Intensity
lets you control the
intensity of your MOD
knobs settings.
.
PITCH lets you set the limit of de-tuning
per divisi. The amount can range anywhere
between a minor 3rd below and above the
note.

MOD lets you choose the intensity of the

LFO (low frequency modulation) much like
with analog synthesizers

Release Time is
the duration (decays
the sound after you
release the note.

46

Multis

Multis
LASS 2 comes with a variety of Multis. Multis are a combination of patches and settings that have been saved out as one big preset. In Kontakt these are
called Multis.
We have created some Multis for you to get started. They are helpful as starting points, but since everyones orchestral template will be different, it will be
up to you to create your final Multis... if you want to go that direction.
Please click on the Multis tab in the LASS Browser to see what is available to you:

47

Thank You!

Thank You!
Thanks to all the LASS users who have reached out to us through our forums or via email. Youre passionate suggestions have helped shape our LASS
updates and we are so grateful for have such a wonderful user base. And thank you for all your patience in waiting for this update.
Thanks to Willem Van den Broeck for his demo and wonderful contributions in our forum.. and for his input that helped shape our user interface and
graphics.
A special thanks to Sebastian Katz and Gabor Valasek for their tireless dedication and passion without which this version of LASS would not have been
possible.

48