QL Ministry of Rock 2 Manual

Quantum Leap Ministry of Rock 2
Virtual Instrument
Users’ Manual
QUANTUM LEAP MINISTRY OF ROCK 2 VIRTUAL INSTRUMENT
The information in this document is subject to change without notice and does not rep-
resent a commitment on the part of East West Sounds, Inc. The software and sounds
described in this document are subject to License Agreements and may not be copied
to other media. No part of this publication may be copied, reproduced or otherwise
transmitted or recorded, for any purpose, without prior written permission by East West
Sounds, Inc. All product and company names are ™ or ® trademarks of their respective
owners.
PLAY™ is a trademark of East West Sounds, Inc.
© East West Sounds, Inc., 2011. All rights reserved.
East West Sounds, Inc.

6000 Sunset Blvd.
Hollywood, CA 90028
USA
1-323-957-6969 voice
1-323-957-6966 fax
For questions about licensing of products: [email protected]
For more general information about products: [email protected]
http://support.soundsonline.com
ii
1. Welcome
2 About EastWest
3 Producer: Nick Phoenix
4 Credits
6 How to Use This and the Other Manuals
7 Online Documentation and Other Resources
Click on this text to open the

Master Navigation Document
1
Welcome
About EastWest
EastWest (www.soundsonline.com) has been dedicated to perpetual innovation and un-
compromising quality, setting the industry standard as the most critically acclaimed
producer of Sample CDs and Virtual (software) Instruments.
Founder and producer Doug Rogers has over 30 years experience in the audio industry
and is the recipient of many recording industry awards including “Recording Engineer of
the Year.” In 2005, “The Art of Digital Music” named him one of “56 Visionary Artists &
Insiders” in the book of the same name. In 1988, he founded EastWest, the most criti-
cally acclaimed sound developer in the world, and recipient of over 60 industry awards,
more than any other sound developer. His uncompromising approach to quality, and
innovative ideas have enabled EastWest to lead the sound-ware business for 20 years.
In 1997 Rogers partnered with producer/composer Nick Phoenix and set up Quantum
Leap, a wholly owned division of EastWest, to produce high-quality, no-compromise
sample libraries and virtual instruments. Quantum Leap virtual instruments are mostly
produced by Nick Phoenix. Some of the larger productions, such as Hollywood Strings,
Symphonic Orchestra, Symphonic Choirs and Quantum Leap Pianos are co-produced by
Doug Rogers and Nick Phoenix. As a composer, Phoenix began scoring film trailers and
television commercials in 1994. To date, he has either scored or licensed music for the
ad campaigns of over 1000 major motion pictures including Tomb Raider 2, Terminator
3, Lord of the Rings Return of the King, Harry Potter 2, Star Wars Episode 2, Spiderman
3, Pirates of the Caribbean 3, Blood Diamond, Night at the Museum, and The Da Vinci
Code. Quantum Leap has now firmly established itself as one of the world’s top produc-
ers of high-end sample libraries and virtual instruments.
Some of Doug Rogers other EastWest productions have included Fab Four, inspired by
the sounds of the Beatles, an M.I.P.A Winner, judged “most innovative virtual instru-
ment” by 100 international music magazines; and The Dark Side, an alternative virtual
instrument collection that was released in late 2010.
In 2006, EastWest purchased the legendary Cello Studios (formerly United Western Re-
corders) on Sunset Boulevard in Hollywood, re-naming it EastWest Studios. The 21,000
sq. ft. facility, since remodelled by master designer Philippe Starck, houses five record-
ing studios and is the world headquarters for EastWest.
Chapter 1: Welcome 2
Producer: Nick Phoenix
Nick began scoring film trailers in 1994. To date, he has scored or licensed music for
the ad campaigns of over 1000 major motion pictures. “Star Trek,” “Tron,” “Percy Jack-
son,” “Twilight,” “2012,” “WALL-E,” “Indiana Jones 4,” “Harry Potter 6,” “Inkheart,”
“Tales Of Despereaux,” “300,” “A Christmas Carol,” “Watchmen,” “Angels and Demons,”
“Night at the Museum,” and “Young Victoria” are a few recent examples. Nick founded
“Two Steps From Hell” with Thomas Bergersen in 2006. www.twostepsfromhell.com
The journey as a composer has inspired Nick to record and program his own sounds
and samples. Nick founded Quantum Leap Productions in 1997 and Quantum leap has
since grown to be the world’s top producer of high-end virtual instruments. A 13-year
partnership with Doug Rogers and EastWest has yielded award winning software titles
such as Stormdrum 1 and 2, Symphonic Orchestra, Symphonic Choirs, Silk, RA, Voices
Of Passion, Ministry Of Rock, Gypsy, Quantum Leap Pianos, Goliath, Hollywood Strings,
and many others.
“Hollywood Strings is the culmination of years of experience and the input of a really
strong and diverse team. It is, by far, the best virtual instrument I have been involved
with.”
Credits
Producer
Nick Phoenix
Executive Producer
Doug Rogers
Engineering
Nick Phoenix, Doug Rogers, Rhys Moody
Lead Programmer
Justin Harris
Programming
Nick Phoenix, Pierre Martin, Ashif Hakik
Editing
Pierre Martin, Justin Harris
Art Direction
Steven Gilmore, Doug Rogers, Nick Phoenix
Software
Klaus Voltmer, Klaus Lebkücher, Julian Ringel, Patrick Stinson,
Adam Higerd, Ezra Buchla, Doug Rogers, Nick Phoenix, Rhys Moody,
David Kendall, Nick Cardinal, Jonathan Kranz, Bartlomiej Bazior
Manual
John Philpit
Featured Artists
Shane Gibson
guitarist with Stork, Schwarzenator, KoRn
MoR 2 Guitar: Gibson Les Paul
Greg Suran
guitarist with Goo Goo Dolls, Avril Lavigne, Glee
MoR 2 Guitar: Fender Telecaster Thinline
Doug Rappaport
guitartist with Edgar Winter, Potent
MoR 2 Guitars: Schecter 7 String, Fender Jaguar
Ashif Hakik
MoR 2 Guitars: Baritone, Carvin
Tal Bergman
drummer with Billy Idol, LL Cool J, Rod Stewart, Terence Trent Darby, Joe Zawinul
All Drums
Pierre Martin
Los Angeles Bass Artist
All Basses
How to Use This and the Other Manuals
All documentation for the EastWest PLAY Advanced Sample System and its libraries is
provided as a collection of Adobe Acrobat files, also called PDFs. They can be viewed on
the computer screen or printed to paper.
Each time you install one of the PLAY System libraries, two manuals are copied to the
file system on your computer:
sç The manual that describes the whole PLAY System. This, the largest of the manuals,
addresses how to install and use all aspects of the software that are common to all
libraries.
sç The library-specific manual, such as the one you are currently reading. This smaller
document describes aspects that differ from one library to the next, such as the list
of included instruments and articulations.
Using the Adobe Acrobat Features

By opening the Bookmarks pane along the left edge of the Adobe Acrobat Reader, the
user can jump directly to a topic from the section names. Note that some older versions
of Acrobat Reader might not support all these features. The latest Acrobat Reader can
be downloaded and installed at no cost from the Adobe web site. (As an example of a
hyperlink, you can click on the last word of the previous sentence to be taken directly to
the Adobe site.)
When reading this and other manuals on the computer screen, you can zoom in to see
more detail in the images or zoom out to see more of the page at once. If an included
picture of the user interface, or a diagram, seems fuzzy or illegible, then zoom in using
one of several means provided in the Acrobat Reader software.
The Master Navigation Document

Because the EastWest PLAY System is a collection of components, each with its own
User’s Manual, a Master Navigation Document (MND) is provided to allow users to jump
quickly between these PDFs when being read on the computer screen. This MND is a
one-page file with hyperlinks to the PLAY System documentation and to all the library
manuals. Hyperlinks to this Master Navigation Document are found on the title page of
each chapter in each document. From there, you can open any other document in the
collection.
For example, if you’re reading something in this documentation for the Quantum Leap
Ministry of Rock 2 library, and need to open the manual for the PLAY System as well,
go to any chapter title page and click on the link that says, “Click on this text to open
the Master Navigation Document.” It will open in a new window on the screen. In that
document, click on the icon for the PLAY System and its manual will open in the same
window (hiding the MND). You now have both the Ministry of Rock 2 library manual and
the PLAY System manual open in separate windows so you can refer to them both.
Reading this Manual on a Hand-held Device
Because most eReaders and some other devices smaller than a laptop computer can
display any PDF, it is often possible to open this and other EastWest manuals on such a
device. In many cases, the text and images will be smaller than on a computer screen,
but still legible.
It is usually recommended you load the document in the PDF format, even when the
option of conversion to the eReader’s native format is possible, because the layout is pre-
served. If being able to change font size and other text formatting features are important
(and conversion is available), then do use the conversation, but be aware that a phrase
such as “the image at the left” may no longer accurately name the location of the image.
Online Documentation and Other Resources

For the most up to date information, visit the support pages at EastWest’s web site.
There you can find:
sç information made available after these manuals were written
sç FAQ pages that may already list answers to questions you have
sç suggestions from EastWest and other users of the EastWest PLAY System
sç news about upcoming releases
The address is:

http://support.soundsonline.com
You can also visit the EastWest online forums. There you can read comments and ques-
tions from others who use EastWest products and post your own. The many forum par-
ticipants are a good source of helpful information about both the technical and musical
aspects of this software.
The address of the forums is:

http://www.soundsonline-forums.com
2. Quantum Leap Ministry of Rock 2, An Overview
9 The Design Point For the Ministry of Rock 2 Library

9 What’s Included
10 Notes from the Producer
10 Hardware Requirements

8
Ministry of Rock 2, An Overview

The Design Point For the Ministry of Rock 2 Library
The Quantum Leap Ministry of Rock 2 Virtual Instrument pulls together guitars and
drums newly recorded in the famous EastWest Studio 2 with remastered versions of the
basses from both the legendary Hardcore Bass (from 2003) and its XP expansion library
(from 2004). This collection is now the ultimate toolbox for rock producers.
If you loved the Hardcore Bass instruments, these remastered sounds take the same
recorded performances to a new level with the modern programming that’s possible with
the PLAY 2 Advanced Sample Engine. Load your favorite bass guitar from the old library
and test out how all the new controls let you shape the sound as never before possible.
The library covers a myriad of styles. Songwriters; film, TV, and game composers; and
drummers and guitarists will all love this library. The sound quality and playability are
superior to anything else available.
Ministry of Rock 2 features sounds used in today’s music. The entire library was put to-
gether with one goal in mind: to create a virtual instrument capable of producing sounds
that could actually produce a hit record or film score without any live drum, bass, or
guitar overdubs. The articulations and programming were all reverse engineered from
actual performances.
What’s Included
This Quantum Leap Ministry of Rock 2 library you purchased includes all the following:
sç a complete set of sample-based instruments, enumerated later in this manual
sç approximately 57 Gigabytes of 24-bit, 44.1 kHz samples
sç the EastWest PLAY Advanced Sample Engine
sç the unique authorization code that identifies the license you bought
sç manuals in Adobe Acrobat format for both the EastWest PLAY System and the Quan-
tum Leap Ministry of Rock 2 Virtual Instrument
sç an installation program to set up the library, software, and documentation on your
computer
sç an Authorization Wizard for registering your license in an online database
One required item not usually included is an iLok security key. If you already have one
from an earlier purchase of software, you can use it. Otherwise, you need to acquire one.
They are available from many retailers that sell EastWest and Quantum Leap products, or
you can buy one online from www.soundsonline.com.
Chapter 2: Ministry of Rock 2, An Overview 9

Notes from the Producer
Some Ministry of Rock 2 patches load up with the Convolution Reverb, Delay, and Filter
enabled. This was done because these are typical setting for such instruments. You are
encouraged to experiment with the fantastic Reverb and Delay in the PLAY Engine to
create your own effects.
Note: The high-quality Convolution Reverb in the EastWest PLAY Engine, mentioned
above, uses lots of CPU power. If your computer has the minimum system specs, turning
off the reverb after loading a patch may significantly improve performance.
Some Ministry of Rock 2 instruments take advantage of the PLAY Engine’s feature called
Channel Sourcing. It lets you access the two sides of the stereo file independently. Use
this control along with the Stereo Double knob to affect how wide a sound to generate.
See page 13 for more details about this feature.
Some of the other PLAY System features working under the hood are used to achieve the
Ministry of Rock 2 sound. These include:
sç auto legato detection
sç legato scripts
sç round robin articulations and two means for resetting the cycles
sç repetition detection
Hardware Requirements
See the Play System manual for a complete list of the Hardware and Software Require-
ments for installing and running any PLAY System library. In addition, the available
space on the hard drive required for a full installation of Ministry of Rock 2 is approxi-
mately 57 GB (Gigabytes).
Chapter 2: Ministry of Rock 2, An Overview 10

3. The Ministry of Rock 2 User Interface
13 Round Robin Reset Button

13 Stereo Double Controls
13 Filter Controls
14 ADT Controls
14 The Graphical Representation of the Envelope
15 Drum Mixer
15 The Browser View

11
The Ministry of Rock 2 User Interface

Each library presents its own interface when one of its instruments is the current one,
as specified in the Instruments drop-down in the upper right corner. The image below
provides an overview of the entire window when in Player View.
Much of this interface is shared by all PLAY System libraries, and the common features
are described in the PLAY System manual. The controls described here are:
sç Round Robin Reset sç ADT

sç Stereo Double sç Drum Mixer
sç Filter sç Envelope’s graphical UI
sç Drum Mixer
Chapter 3: The Ministry of Rock 2 User Interface 12

Round Robin Reset Button
A round robin articulation is one in which several different samples are recorded with all
parameters, such as volume, speed of attack, and so on, being essentially constant. The
PLAY Engine then knows to alternate between the two or more samples during playback.
The goal is to avoid what’s often called the “machine gun effect,” in which playing the
same sampled note repeatedly causes the unnatural sound of consecutive notes being
mechanically identical.
There’s one potential problem with round robin technology, and one way to solve
it is the Round Robin Reset button. The PLAY Engine remembers which sample
should be played the next time the note sounds. If, for example, a round-robin patch
contains two samples, A and B, and a piece uses that note 7 times, the PLAY Engine
plays A B A B A B A. If the piece is played again from the beginning, the engine will play
starting with B, because that’s next in order. The second rendition will be subtly differ-
ent. Being able to reset all round-robin articulations to the beginning of the cycle allows
for consistent playback.
You can use this button to reset all round robin articulations on demand. Or use your
choice of a MIDI note or MIDI control code to reset them one instrument at a time from
a MIDI keyboard or the data stored in a sequencer project. See the description of the
Settings dialog for more information about this articulation-specific approach.
Stereo Double Controls

This knob, with its three buttons, gives the user the option of using ex-
clusively the left stereo signal or right when “Stereo” is selected from
the Channel Source drop-down. For any other setting, this control has no
effect. The reason for having the choice is that in some instruments the
left and right signals are separately recorded samples. For example, the
Gibson Les Paul guitar was recorded through a Mesa Boogie amp on the left and the
signal was captured direct, with no amplifier, on the right. You have the choice of using
either sound alone or a mix of the two sounds.
The knob lets the user determine the spread of the signals, how far apart the ear per-
ceives the stereo channels to be. A value of 0% brings the two channels together at the
center (unless the Pan knob positions the output differently), and is the equivalent of
turning off the controls with the button below the knob. A value of 100% call for the
maximum spread available. Select between the left and right signal with the buttons on
either side of the knob.
Filter Controls
The Filter controls take the sound of the instrument, and modify it by
filtering out some of the sound above a certain frequency. This type of
effect is commonly called a Low Pass Filter.

The Frequency knob determines where the sound starts to be filtered out. The Resonance
knob specifies how much the filter “rings” at the dialed frequency. The higher the reso-
nance knob is set, the more focused this ringing becomes.
The graph gives you visual cues about the frequency distribution you are creating with
the settings you select.
ADT Controls
Artificial Double Tracking is a technique, invented at
Abbey Road when the Beatles were recording there,
that approximates the effect of double tracking (re-
cording two nearly identical takes of a vocalist or in-
strument on the same part and laying one on top of the other) without actually taking the
time to record two takes. And some would say ADT improves on actual double tracking
even beyond the savings in time. The original ADT process was based on magnetic tape;
in the PLAY Engine, the effect is created digitally. The software programmers, however,
added a tape simulator to mimic the slight speed variations of the two analog tape ma-
chines that created the ADT effect.
The Delay knob specifies in milliseconds, the delay between the original signal and the
secondary signal. A delay of around 40 ms is typical, so is often a good starting point
when crafting a specific effect.
The Depth knob specifies the amount by which that delay is modulated. You don’t want
an exactly consistent delay; the delay of the secondary signal will vary forward and back-
ward in time by this much.
The Speed knob varies the speed at which that delay is modulated.
The Level knob specifies the relative loudness of the secondary signal. Set it to 0.0 dB to
hear the effect at its strongest, with the same level on both signals; higher or lower gives
preference to one of the signals. The overall effect depends on their combination.
The On/Off button allows you to kill the ADT effect instantly and then reinstate it with the
same settings, as needed.
The Graphical Representation of the Envelope

The Envelope Controls are described in the main PLAY Sys-
tem manual because they are common to all PLAY System li-
braries. Only some libraries include the graph, as shown here,
so it is included in the manuals for those libraries only.
Note that the total width of the graph represents the total
length of all phases of the envelope. Therefore, when you
change something in one part of the graph, for example, the
decay, you may see the slopes of other components, the at-

tack and the release, change as well because those phases become a larger or smaller
percent of the whole; this is as expected.
Drum Mixer
The Drum Mixer gives the user control over the 3 audio out-
puts that were captured simultaneously at the recording ses-
sions. Each column is one of these outputs, left to right:
sç Mics close to the drums and overhead
sç Mics further away to capture the ambience of the room
sç The same as the room mics, but run through a compres-
sor for a punchier sound
The 3 buttons in each column give users the ability to Mute,

Solo, and Activate/Deactivate the signals separately. There’s a pan control at the top and
a volume slider below that.
Only the drums in Ministry of Rock 2 can use these controls, not any of the guitars or
basses.
The Browser View

The Browser behaves identically among all PLAY System libraries. Read the main PLAY
System manual for information about how to use that view.

4. Guitars and Basses
17 Descriptions of the Ministry of Rock 2 Guitars and Basses

17 Newly Sampled Instruments
19 Remastered Basses from Hardcore Bass and XP
20 A Note from the Producer
21 Explaining the Instrument Sub-types
22 Tables of the Instruments

16
Guitars and Basses:

Instruments, Articulations, Keyswitches
This chapter provides specific information about each of the Guitars and Basses in the
Ministry of Rock 2 library. First is a section that briefly describes them in case some are
unfamiliar to you. This is followed by a table that lists for each instrument the available
articulations together with the keyswitch note that initiates each one. You might want to
print out the pages containing this table as a reference, or load this PDF into a hand-held
reader for quick access when working.
The Drums are described in their own chapter, beginning on page 58.
Descriptions of the Ministry of Rock 2 Guitars and Basses

This is a list of all the basses and guitars in the Ministry of Rock 2 library. Each item
includes a brief description of the physical instrument and some general information
about the articulations. See the tables later in this manual for specifics about what ar-
ticulations are available.
All the instruments below specify the amplifier being recorded for the right channel;
sometimes the left channel is routed through different equipment and sometimes it’s a
direct feed with no amplifier. When the feed is direct, you need to use your own amplifier
plug-in with the left channel to create the desired sound. (Note that using these “direct”
outputs without inserting an amplifier plug-in in the signal path will not sound good. Use
one of the other guitars with a pre-recorded amplifier instead.) Use the Channel Source
controls to select which Channel to use: left or right. The Stereo Doubling controls can
widen the mono signal as much or as little as your choose.
Newly Sampled Instruments

Here are brief descriptions of the guitars and the one bass sampled specifically for this
library.
Fender Jaguar
A legendary Strat-like guitar used by artists such as Kurt Cobain, Smashmouth, Red
Hot Chili Peppers, and Johnny Marr.
sç Right channel: Fender Amp
sç Left channel: direct
Chapter 4: Guitars and Basses 17

Fender Telecaster Thinline
The 1972 Telecaster Thinline guitar features a warmer sound and a rounder semi-hollow
ash body, a C-shaped maple neck, bullet-style truss rod, ’70s vintage hardtail strings-
through-body Strat bridge, three-bolt neckplate, and two wide-range humbucking pick-
ups.
sç Right channel: Divided By Thirteen Amp
sç Left channel: Vox Amp
Carvin
Rock/metal guitar with a full tone. It has 11-gauge strings and is tuned to Drop C.
Each note (for both the neck and bridge pickups) was sampled twice; during playback,
both samples are automatically played together, though one panned hard right and the
other hard left, for a genuine double-tracked sound.
In the instrument names, these two samples are referred to as S1 and S2. Both the S1
and S2 articulations, panned hard left and hard right respectively, are loaded together on
the same MIDI channel. The image at the right shows both
the S1 and S2 instruments appearing together in PLAY’s
Instrument drop-down and both on channel 1.
sç Both channels: Carvin Amp
Baritone
The Baritone guitar is a variation on the standard guitar with a longer scale length. The
baritone played here is made by Danelectro and uses custom modified lipstick pickups.
The greater length of the strings allows it to be tuned to a lower range and, together with
thicker 14-gauge strings, gives it a wicked full tone.
sç Right channel: Carvin Amp
The Baritone is available for both lead and rhythm styles.
Gibson Les Paul

The Gibson Les Paul guitar is a solid-body electric guitar originally developed in the early
1950s. It is a favorite amongst metal guitarists.
sç Right channel: Mesa Boogie Amp
Schecter 7-String
The C7 FR Hellraiser from Schecter is a guitar that metal players love, with its deep and
crunchy 7-string tones and a Floyd Rose tremolo for breaking out tremolo tricks. It has a
mahogany body and 3-piece mahogany neck. Its Active EMG 707-TW humbuckers push
the limits of high-output guitar mayhem.
sç Right channel: Marshall Amp
sç Left channel: Bogner Amp

Music Man Stringray 5 String Bass
The Stingray 5 was the first bass to feature active electronics and advancements such
as a 6-bolt neck joint, contoured body, superior neck truss-rod system, and rock-solid
bridge. The instrument is constructed with a select hardwood body, maple neck, Schaller
BM tuners, 3-band active EQ, and a Music Man humbucker/piezo bridge.
sç Right channel: Ampeg Amp
sç Left channel: SWR Amp
Remastered Basses from Hardcore Bass and XP

The rest of the basses in Ministry of Rock 2 are remasterings of the classic basses in
EastWest’s popular Hardcore Bass library (2003) and Hardcore Bass Expansion (2004).
The original sounds, including the separate amplifiers on the left and right tracks, where
that technique was used in the XP basses, have been retained.
Lakland Bass
The Lakland 55-94 Skyline Standard bass is equipped with their familiar MM/J pickup
configuration and a custom 3-band preamp. The master volume pot can be pulled to
bypass the active preamp. The 55-94 has a 3-way toggle for coil splitting. Features in-
clude an ash body, maple neck with a 35" scale and 22 frets, Hipshot-licensed Ultralight
tuners, and a Lakland Dual Design bridge.
sç Same left and right channels: Ampeg/SVT rig with a Sennheiser 451 dynamic mic
The Lakland Bass is available both fingered and picked.
Music Man Vintage Picked

This is also a Stingray 5, but only available as a picked instrument. It uses alternate
pickup settings.
sç Same left and right channels: Ampeg/SVT rig with an RCA 44 ribbon mic
61 Fender Jazz Fretless

This 1961 Fender Jazz bass was converted to fretless and has an amazing warm tone.
sç Right channel: 50s Ampeg rig with an RCA 44 ribbon mic and a Manley tube signal
path
sç Left channel: 80s large Ampeg rig with a Sennheiser 451 dynamic mic and a Neve
solid state signal path
63 Höfner Violin Bass

This vintage ’63 Höfner is the “Beatles’ Bass.” It has a two-piece neck, exotic bird’s eye
maple finish, and gold-plated hardware. Many players revere Höfner’s Violin Bass as a
legend because of its historical significance and its warm, woody, doublebass-like ampli-
fied tone. The Höfner Violin Bass is a unique instrument with a smooth, sweet sound.
path

65 Gibson EB2 Bass
The EB2 bass guitar was launched in early 1958. It is a hollow-body electric bass that
features a Bass/Baritone pushbutton for two different tonal characteristics. It features a
curly maple arched top, back, and rims with ivoroid binding. A slim, fast, low-action neck
joins the body at the 18th fret. Three-piece laminated mahogany neck is equipped with
adjustable truss rod. The combination bridge and tailpiece are adjustable horizontally
and vertically. There are humbucking pickups with separate tone and volume controls. It
has a 30½" scale with 20 frets.
path
66 Silvertone Bass
This is a 1966 Silvertone solid body, single-pickup electric bass guitar made by Danelec-
tro. It’s one of the last Danelectro-made Silvertone basses offered before Danelectro
went out of business. It has one lipstick pickup and a brown burst finish.
path
72 Rickenbacker Bass
The Rickenbacker 4003 Bass has a strong ringing sustain, treble punch, and solid un-
derlying bottom end. It’s also famous for its distinctive, elegantly curved body shape,
deluxe triangular fretboard inlays, stereo output, neck-thru-body construction, double
truss rods, and high output single-coil pickups with wide response range and brilliant
clarity. The Vintage Tone Selector activates a capacitor in the treble pickup circuit to
emphasize the high end.
path
A Note from the Producer

Voice Limiting: some patches have their voice limit set to 1, such as some of the “PC Long
MOD” patches. This is so that you can use your sustain pedal and get a smooth con-
nected performance. This is most common for the basses and power chord (PC) guitars.
The voice limiting can always be changed for any given instrument in the Main Menu
->Current Instrument-> Advanced Properties page.

Explaining the Instrument Sub-types
Keyswitch (abbreviated KS) is an instrument file that contains all (or at least most) articu-
lations of the instrument. By playing a keyswitch note (shown on the onscreen keyboard
in blue), you are directing PLAY to use the associated articula-
tion for all notes until another keyswitch note is played. In this
way, you can quickly and efficiently jump around among the var-
ious articulations in real time. Note that the currently selected
keyswitch note appears as a different shade of blue; in the image, it’s C0.
The names of the articulations associated with each keyswitch note are listed in the
Articulations window, and also in the tables that appear later in this chapter. And if you
know that you will not need some articulations, you can unload those samples using the
same Articulations window.
Any MOD Instrument allows you to use the Mod Wheel instead of keyswitch notes to switch
between articulations. There are usually only 3 to 5 articulations in one MOD instrument,
but the producers have selected articulations they think work together well.
In some cases these instruments also contain articulations that are

played with notes above the range of the instrument. And it’s some-
times possible to find another articulation that sounds at only the
highest MIDI velocities. Check out these special cases in the Articu-
lations window and, for a little more detail, in the tables that follow.
The Long MOD Instruments are for held notes and Power Chords (PC). The Mod Wheel in-
troduces legato, and sliding legato at the top of the range. When the Mod Wheel is trig-
gering legato, it is also triggering repetition legato for repeated notes and Power Chords.
The Long MOD2 and MOD3 Instruments are similar to the Long MOD instruments, but they
also introduce screams for the highest velocities and pinched harmonics for the lowest
velocities.
The Short MOD Instruments provide short notes and power chugs that switch to longer notes
as the Mod Wheel is pushed up.
The PC MOD vs LEAD Instruments are important patches that use short Power Chord chugs
that switch to longer Power Chords as the Mod Wheel is pushed up. High velocities trig-
ger a single-note lead sound. Use these files as inspiration for playing Power Chords and
a lead in the same patch.
The Strum MOD instruments. When the Mod Wheel is pushed down you’re playing near the
bridge with open strings and an airy tone. With the Mod Wheel up, you’re playing further
up the neck with a fuller, less sustained tone.
The Strum Lead Instruments provide a strumming patch with lead samples at high veloci-
ties.

The Elements Folder contains the individual instrument files that appear in the keyswitch
and MOD files. Although there may be special circumstances in which you’ll want to use
these individual files, most of the time in performance the keyswitch and MOD files give
you more control.
The Tempo Sync Performances are files that allow you to synch the rhythm within the
samples to the tempo set up in a sequencer or in the Advanced Properties page for the
Current Instrument. Open the Main Menu in PLAY’s standalone mode and select Current
Instrument to see where this is set up.
The Playable Patches provide a sustain (or similar) articulation for all but the highest MIDI
velocities, and then change to a bend or fall at the upper end of the velocity range. Use
these instruments to add interest to a sustained line in the basses.
Tables of the Instruments

The Ministry of Rock 2 basses and guitars are each in separate tables on the following
pages. Use the Acrobat bookmarks in the list at the left if you want to jump to a specific
instrument.
BARITONE GUITAR
Baritone Lead
Baritone Lead KS and MOD
Baritone Lead KS C0-F#0 C0 Sustain Down Up RR
C#0–D0 Lead Sustain
C#0 Lead Hammer On + Pull Off
D0 Lead Slide Up Down
D#0 Harmonics
E0 Short Staccato RR
F0 Staccato Palm SLow RR
F#0 Tremolo
Baritone Lead MOD 1 0–20 Lead Sustain RR
21–70 Lead Hammer On + Pull Off
71–127 Lead Slide Up Down
Baritone Lead MOD 2 0–20 Lead Sustain RR
21–70 Lead Hammer On + Pull Off
71–127 Lead Slide Up Down
velocity < 46 Harmonics
continued

BARITONE GUITAR
Baritone Lead Short MOD 0–40 Lead Staccato Palm Slow RR
41–85 Lead Staccato Short RR
86–127 Lead Sustain RR
Baritone Lead Elements
Baritone Lead Elements Hammer On
Pull Off
Harmonics
Slide Down
Slide Up
Staccato Palm Slow RR
Staccato Short RR
Sustain Down
Sustain Up
Sustain RR
Baritone Lead Tempo Sync Performances
Baritone Lead Baritone Lead Tremolo
Tempo Sync Performances
Baritone Rhythm
Baritone Rhythm KS and MOD
Baritone Rhythm KS C0–F#1 C0 PC Sustain 1
(continued on next page) C#0 PC Sustain 2
D0 PC Down Up
D#0-F0 PC Sustain
D#0 PC Hammer On + Pull Off
E0 PC Slide Up Down
F0 PC Slide Up Down Slow Lo
F#0 PC Short RR
G0 PC Death
G#0 PC Death Long
A0 PC Death Slow
A#0 PC Palm Slow RR
B0 PC Palm Medium RR
C1 PC Staccato Palm Fast RR
continued

BARITONE GUITAR
Baritone Rhythm KS C0–F#1 C#1 PC Palm Fastest x RR
(continued from prior page) D1 PC Palm x Perf
D#1 Chugs Short
E1 Chugs FX
F1 Random FX
F#1 Scrapes and Noises
D4–A5 Fret and String Noise (range, not KS)
Baritone Rhythm MOD 1 0–20 PC Sustain 1
21–89 PC Hammer On + Pull Off
90–127 PC Slide Up Down
Baritone PC Short MOD 1 0–31 PC Staccato Palm Fast RR
32–64 PC Palm RR
65–97 PC Palm Slow RR
98–127 PC Sustain
velocity > 110 PC Hammer On + Pull Off
Baritone Rhythm Elements
Baritone Rhythm Elements Chugs FX
(continued on next page) Chugs Short
PC Death Long
PC Death Slow
PC Death
PC Down Up
PC Hammer On
PC Palm RR
PC Palm Slow RR
PC Palm x RR
PC Pull Off
PC Slide Down
PC Slide Down Slow
continued

BARITONE GUITAR
Baritone Rhythm Elements PC Slide Up
(continued from prior page) PC Slide Up Slow
PC Slow RR
PC Staccato Palm Fast RR
PC Sustain 1
PC Sustain 2
Random FX
Scrapes and Noises
Baritone Rhythm Tempo Sync Performances
Baritone Rhythm PC Palm x Perf 260 bpm
Carvin Guitar, Bridge Pickup

Both of the Carvin instruments recorded here (Neck Pickup and Bridge Pickup) have
been sampled twice, and panned hard left and hard right. When you load any of the
patches for these guitars you are loading two separate .ewi files, and PLAY assigns them
both the same MIDI channel number so that they play back together for a true double-
tracked stereo sound. In the keyswitch and MOD files you will see “S1” or “S2” in the
names; these are the left and right signals. Likewise, in the Element files, you will See
“X2” in the name. These symbols are not included in the names in the tables in order
to keep things simple.
CARVIN GUITAR: BRIDGE

Carvin Bridge Lead
Carvin Bridge Lead KS and MOD
Carvin Bridge Lead KS C0-F#1 C0 Sustain Non-vib RR
(continued on next page) C#0 Sustain Med Vib RR
D0 Sustain Exp Vib RR
D#0–E0 Sustain Med Vib (script)
D#0 Hammer On + Pull Off
E0 Slide Up Down
F0 Scream
F#0 Harmonics
G0 Pinch Harmonics
G#0 Scrape
continued

Carvin Bridge Lead KS C0-F#1 A0 Staccato8 RR
(continued from prior page) A#0 Staccato8 Palm RR
B0 Staccato8 Mute RR
C1 Staccato16 Perf
C#1 Staccato16 Mute Perf
D1 Scrape FX 1
D#1 Scrape FX 2
E1 FX Scream
F1 FX Single 1
F#1 Clusters
Carvin Bridge Lead Long 0–20 Sustain Med Vib RR
MOD 1 21–70 Hammer On + Pull Off
71–127 Slide Up Down
Carvin Bridge Lead Long 0–20 Sustain Med Vib RR
MOD 2 21–70 Hammer On + Pull Off
velocity < 41 Harmonics
velocity > 115 Scream
Carvin Bridge Lead Velocity- 0–20 Sustain NV VB MV w/Scream Vib
Sensitive Vibrato MOD 21–70 Hammer On + Pull Off
Carvin Bridge Lead Short MOD 0–40 Staccato8 Mute RR
41–85 Staccato8 Palm RR
86–127 Staccato8 RR
Carvin Bridge Lead Elements
Carvin Bridge Lead Elements Clusters
(continued on next page) FX Scream
FX Single 1
Hammer On
Harmonics
Lead Long vs
Lead Mte Staccato16 Fast RR
continued

Carvin Bridge Lead Elements Lead Mte Staccato16 RR
(continued from prior page) Lead Staccato16 RR
Lead Staccato16 Fast RR
Pinch Harmonics
Pull Off
Scrape FX 1
Scrape FX 2
Scrape
Scream
Slide Down
Slide Up
Staccato8 Mute RR
Staccato8 Palm RR
Staccato8 RR
Sustain Non-vib RR
Sustain Med Vib RR
Sustain Exp Vib RR
Carvin Bridge Lead Tempo Sync Performances
Carvin Bridge Lead Staccato16 Mte Perf
Tempo Sync Performances Staccato16 Perf
Carvin Bridge Rhythm
Carvin Bridge Rhythm KS and MOD
Carvin Bridge Rhythm KS C0–G0 C0 PC Down
C#0 PC Up
D0 PC Double RR
D#0-E0 PC Down (script)
D#0 PC1 Slide Up Down
E0 PC2 Slide Up Down
F0 PC Palm Med RR
F#0 PC Palm Short RR
G0 FX Rhythm
D4–F5 String FX (top of range, not a KS)
continued

Carvin Bridge PC Long MOD 1 0–20 PC Sustain Down
21–70 PC1 Slide Up Down
71–127 PC2 Slide Up Down
D4–F5 String FX
Carvin Bridge PC Short MOD 1 0–54 PC Palm Short RR
55–105 PC Palm Medium RR
106–127 PC Down
D4–F5 String FX
Carvin Bridge PC MOD vs LEAD 0–54 PC Palm Short RR
55–105 PC Palm Medium RR
106–127 PC Down
velocity > 100 Lead Sustain w/ Hammer On + Pull Off
D4–F5 String FX
Carvin Bridge Rhythm Elements
Carvin Bridge Rhythm Elements PC Double RR
PC Down
PC FX Rhythm
PC Palm Med RR
PC Palm Short RR
PC Slide Down
PC Slide Up
PC Staccato8
PC Staccato8 Fast
PC Up
PC Slide Down
PC Slide Up
The Gibson Les Paul 7-String Guitar

Two instruments in this folder needs more explanation than can be easily conveyed in
the table below:

1. Gibson Lead Long MOD Velocity-Sensitive Vibrato. When the Mod Wheel is in its lowest
range, 0-20, you can control the amount of vibrato with each note’s MIDI Velocity, as
follows:
sç Velocity = 0–55: No Vibrato
sç Velocity = 56–94: Medium Vibrato
sç Velocity = 95–127: Heavy Vibrato; except, see below
sç Velocity = 126-127: Scream Vibrato, only on notes B3–B5
2. Gibson Lead Long NV VB LEG MOD. This instrument includes a script that creates a legato
effect when notes are played with no gap between them.
GIBSON LES PAUL 7-STRING GUITAR

Gibson Lead
Gibson Lead KS and MOD
Gibson Lead KS A-1 – E1 A-1 Non-vib RR
A#-1 Med Vib RR
B-1 Hard Vib RR
C0–C#0 Sustain Med Vibrato (script)
C0 Med Vib Hammer On + Pull Off
C#0 Med Vib Slide Up Down
D0–D#0 Sus Hard Vib (script)
D0 Hard Vib Hammer On + Pull Off
D#0 Hard Vib Slide Slow Up Down
E0 Bend Up
F0 Bend Down
F#0 Scream Bend Up
G0 Scream Fast Bend Down
G#0 Scream Fast Bend Up
A0 Scream Vib Bend Up
A#0 Pinch Harmonics
B0 Staccato RR
C1 Staccato Mute RR
C#1 Fast 16th Mute Perf
D1 Fast 16th Perf
D#1 String Slides
E1 Random FX
continued

Gibson Lead Long Hard Vib 0–20 Sustain Hard Vib
MOD 21–70 Hammer On + Pull Off
Gibson Lead Long Medium Vib 0–20 Sustain Medium Vib
Gibson Lead Long MOD 0–20 Sustain NV VB MV w/Scream Vib
Velocity-Sensitive Vib 21–70 Hammer On + Pull Off
* see note before this table
Gibson Lead Long NV VB LEG 0–20 Sustain Medium Vib
Velocity > 109 Heavy Vib
Gibson Lead Short MOD 1 0–64 Staccato Mute RR
65–105 Staccato RR
106-127 Sustain Non-vib
Gibson Lead Elements
Gibson Lead Elements Bend Down HS
(continued on next page) Bend Up HS
Hard Vib Down
Hard Vib Hammer On
Hard Vib Pull Off
Hard Vib RR
Hard Vib Slide Down
Hard Vib Slide Up
Hard Vib Up
Medium Vib Down
Medium Vib Hammer On
Medium Vib Pull Off
Medium Vib RR
Medium Vib Slide Down
Medium Vib Slide Up
continued

Gibson Lead Elements Medium Vib Up
(continued from prior page) Non-vib Down
Non-vib RR
Non-vib Up
Pinch Harmonics FX
Pinch Harmonics FX 2
Random FX
Scream Bend Up
Scream Fast Bend Down
Scream Fast Bend Up
Scream Vib Bend Up
Scream Mute RR
Staccato RR
String Slides FX
Gibson Lead Tempo Sync Performances
Gibson Lead Fast 16th Mute Perf 260 bpm
Tempo Sync Performances Fast 16th Perf 205 bpm
Gibson Rhythm
Gibson Rhythm KS and MOD
Gibson Rhythm PC KS A-1 PC Long Faster RR
A-1 – E1 A#-1 PC Long Slower RR
(continued on next page) B-1 PC Long Death RR
C0–D0 PC Sustain Long Slower (script)
C0 PC Hammer On + Pull Off
C#0 PC Slide Up Down
D0 PC Slide Up Down Slow
D#0 PC Staccato RR
E0 PC Palm Mute Long RR
F0 PC Palm Mute Med RR
F#0 PC Palm Mute Short RR
G0 PC Chug Long RR
G#0 PC Chug Harmonics Fast Perf
continued

Gibson Rhythm PC KS A0 Rhythm Perf
A-1 – E1 A#0 Medium Perf
(continued from prior page) B0 PC Gallup Perf
C1 PC Chug x RR
C#1 PC Chug Double Mute
D1 PC Random Chug FX
E1 PC Chug Death Squall
D4–E5 String FX (top of range, not a KS;
and not with all KS articulations)
Gibson PC Long MOD 1 0–31 PC Long Slower RR
65–96 PC Slide Up Down
97–127 PC Slide Up Down Slow
D4–E5 String FX
Gibson Short MOD 1 0–25 PC Palm Mute Short RR
26–52 PC Palm Mute Medium RR
53–78 PC Palm Mute Long RR
79–105 PC Staccato RR
106–127 PC Long Slower RR
D4–E5 String FX
Gibson PC MOD vs LEAD 0–25 PC Palm Mute Short RR
26–52 PC Palm Mute Medium RR
53–78 PC Palm Mute Long RR
79–105 PC Staccato RR
106–127 PC Long Slower RR
velocity > 100 Sustain Hammer On + Pull Off
D4–E5 Chug FX
Gibson Rhythm Elements
Gibson Rhythm Elements PC Chug Double Mute
(continued on next page) PC Chug Harmonics
PC Chug Long RR
PC Chug X RR
PC Hammer On
continued

Gibson Rhythm Elements PC Long Death RR
(continued from prior page) PC Long Faster RR
PC Long Slower RR
PC Palm Mute Long RR
PC Palm Mute Medium RR
PC Palm Mute Short RR
PC Pull Off
PC Random Chug FX
PC Slide Down Slow
PC Slide Down
PC Slide Up Slow
PC Slide Up
PC Staccato RR
Gibson Rhythm Tempo Sync Performances
Gibson Rhythm PC Chug Harmonics Fast Perf
Tempo Sync Performances PC Fast Perf 260 bpm
PC Gallup Perf
PC Medium Perf 200 bpm
PC Rhythm Perf 120 bpm
PC Speed Perf 175
Schecter 7-String Guitar

The Schecter Lead Keyswitch file includes an articulation that loads for both the D#0
and the E0 keyswitch notes: it’s called Lead Sustain NV VB MV. For this articulation, the
depth of the vibrato is controlled by the MIDI velocity of each note played:
sç Velocity = 0–54: Non-vibrato (NV)
sç Velocity = 55–104: Vibrato (VB)
sç Velocity = 105–127: Molto Vibrato (MV)
The exact same pattern of velocity-sensitive vibrato holds in the file: Schecter 7str
Lead Long MOD 2, when the Mod Wheel is set to 20 or below.
The exact same pattern of velocity-sensitive vibrato holds in the file: Schecter 7str
Lead Short MOD, when the Mod Wheel is set to 66 or above.

For the file Schecter 7str Lead Long MOD Velocity-Sensitive Vibrato, when the Mod Wheel is
in its lowest range, 0-20, you can control the amount of vibrato with each note’s MIDI
Velocity, as follows:
sç Velocity = 0–54: Non-vibrato
sç Velocity = 105–125: Heavy Vibrato
sç Velocity = 126-127: Scream Vibrato
SCHECTER 7-STRING GUITAR

Schecter Lead
Schecter Lead KS and MOD
Schecter Lead KS C0–A#0 C0 Non-vib
* see note before this table C#0 Sustain Vib RR
D0 Molto Vib
D#0–E0 Lead Sustain NV VB MV
D#0 Lead Hammer On + Pull Off
E0 Lead Slide Up Down
F0 Scrape Vib
F#0 Scream Fall Vib
G0 Pinch Harmonics
G#0 Harmonics
A0 Scream Fall
A#0 Staccato Mute RR
Schecter Lead Long MOD 1 0–20 Sustain Vib RR
21–70 Hammer On + Pull Off
Schecter Lead Long MOD 2 0–20 Sustain NV VB MV
Schecter Lead Long MOD 3 0–20 Sustain Vib RR
Velocity < 40 Pinch Harmonics
Velocity > 115 Scrape Vib
continued

Schecter Lead Long MOD 0–20 Lead NV VB MV w/Scream Vib
Schecter Lead Short MOD 0–64 Staccato Mute RR
* see note before this table 65–127 Lead Sus NV VB MV
Schecter Lead Elements
Schecter Lead Elements Hammer On
Harmonics
Molto Vib
Noise
Pinch Harmonics
Pull Off
Scrape Vib
Scream Fall Vib
Scream Fall
Slide Down
Slide Up
Staccato Mute RR
Sustain Non-vib
Sustain NV VB MV
Sustain Vib RR
Sustain Vib RR1
Sustain Vib RR2
Schecter Lead Tempo Sync Performances
Schecter Lead Gallup 170 bpm
Schecter Rhythm
Schecter Rhythm KS and MOD
Schecter Rhythm PC KS C0 PC Long RR
C0–C#1 C#0 PC Short RR
(continued on next page) D0 PC Death Long RR
D#0 PC Death Long Slow Down
E0 PC Long Slow RR
continued

Schecter Rhythm PC KS F0 PM Mute Long RR
C0–C#1 F#0 PM Mute Med RR
(continued from prior page) G0 PM Mute Short RR
G#0 Reps Fast RR
A0 Reps Fast Perf
A#0–B0 PC Long RR (script)
A#0 PM Hammer On + Pull Off
B0 PM Slide Up Down
C1 Chug Rep
C#1 Chug Vib
C5–C7 Chugs (top of range, not a KS)
Schecter PC Long MOD 1 0–20 PC Long RR
21–127 PC Legato Up Down
D4–C7 Chugs
Schecter Short MOD 1 0–26 Reps Fast
27–53 PM Mute Short RR
54–80 PM Mute Med RR
81–107 PM Mute Long RR
108–127 PC Long RR
D4–C7 Chugs
Schecter PC MOD vs LEAD 0–26 Reps Fast
27–53 PM Mute Short RR
54–80 PM Mute Med RR
81–107 PM Mute Long RR
Velocity > 100 Sustain w/ Hammer On + Pull Off
D4–C7 Chugs
Schecter Mute Legato MOD 1 0–30 Legato Mute RR
31–99 Slide Mute RR
D4–C7 Chugs
continued

Schecter Rhythm Elements
Schecter Rhythm Elements Chug Long
Chug Mv
Chug Short 1
Chug Short 2
PC Death Long Down
PC Death Long RR
PC Death Long Slow Down
PC Death Long Up
PC Legato Down
PC Legato Up
PC Long RR
PC Long RR1
PC Long RR2
PC Long Slide Down
PC Long Slide Up
PC Long Up Perf RR
PC Long Up Perf RR1
PC Long Up Perf RR2
PC Med Slide Down RR
PC Med Slide Up RR
PC Short RR
PM Mute Hammer On
PM Mute Long RR
PM Mute Med RR
PM Mute Pull Off
PM Mute Short RR
Reps Fast RR
Schecter Rhythm Tempo Sync Performances
Schecter Rhythm Chug Perf
Tempo Sync Performances PC Hyper Perf
PC Reps Fast Perf 235 bpm

Carvin Guitar, Neck Pickup
Both of the Carvin instruments recorded here (Neck Pickup and Bridge Pickup) have
been sampled twice, and panned hard left and hard right. When you load any of the
patches for these guitars you are loading two separate .ewi files, and PLAY assigns them
both the same MIDI channel number so that they play back together for a true double-
tracked stereo sound. In the keyswitch and MOD files you will see “S1” or “S2” in the
names; these are the left and right signals. Likewise, in the Element files, you will See
“X2” in the name. These symbols are not included in the names in the tables in order
to keep things simple.
In the Mod Wheel file Carvin Neck Lead Long MOD 2, the articulations listed for low and high
MIDI velocity do not apply for all notes in the range of the instrument. The articulation
Scream for high velocity only sounds for the note C4 and above. And the articulation
Harmonics Non-vib for low velocity only sounds for the note C3 and above.
Carvin Neck Lead Long MOD Velocity-Sensitive Vibrato. When the Mod Wheel is in its lowest
range, 0-20, you can control the amount of vibrato with each note’s MIDI Velocity, as
follows:
sç Velocity = 0–55: No Vibrato
sç Velocity = 91–127: Heavy Vibrato; except, see below
sç Velocity = 126-127: Scream Vibrato, only on notes C4–A5
CARVIN GUITAR: NECK

Carvin Neck Lead
Carvin Neck Lead KS and MOD
Carvin Neck Lead KS C0–E1 C0 Sustain Non-vib RR
(continued on next page) C#0 Sustain Med Vib RR
D0 Sustain Exp Vib RR
D#0–E0 Sustain Med Vib (script)
D#0 Hammer On + Pull Off
E0 Slide Fast Up Down
F0 Slide Up
F#0 Scream
G0 Harmonics NV
G#0 Pinch Harmonics
A0 Scrape
A#0 Scrape Fall
continued

CARVIN GUITAR: NECK
Carvin Neck Lead KS C0–E1 B0 Flutter Arpeggio
(continued from prior page) C1 Staccato RR
C#1 Staccato Palm RR
D1 Staccato x Perf
D#1 Random Noise 1
E1 Random Noise 2
Carvin Neck Lead Long MOD 1 0–20 Sustain Med Vib RR
71–127 Slide Fast Up Down
Carvin Neck Lead Long MOD 2 0–20 Sustain Med Vib RR
* see note before this table 21–70 Hammer On + Pull Off
Velocity < 44 Harmonics Non-vib
Velocity > 115 Scream
Carvin Neck Lead Long MOD 0–20 Sus NV VB MV w/Scream Vib
Carvin Neck Lead Elements
Carvin Neck Lead Elements Flutter Arpeggio
(continued on next page) Hammer On
Harmonics Non-vib
Pinch Harmonics FX
Pull Off
Random Noise 1
Random Noise 2
Random Noise 3
Scrape Fall
Scrape
Scream
Slide Down Fast
Slide Up Fast
Slide Up
continued

CARVIN GUITAR: NECK
Carvin Neck Lead Elements Staccato RR
(continued from prior page) Staccato Palm RR
Sustain Exp Vib RR
Sustain Med Vib RR
Sustain Non-vib RR
Carvin Neck Lead Tempo Sync Performances
Carvin Neck Lead Staccato8 Perf
Carvin Neck Rhythm
Carvin Neck Rhythm KS and MOD
Carvin Neck Rhythm PC KS C0 PC1 Down
C0–C#1 C#0 PC2 Down
D0 PC2 Double RR
D#0–F0 PC1 Down (script)
D#0 PC Hammer On + Pull Off
E0 PC Slide Fast Up Down
F0 PC Slide Slow Up Down
F#0 PC Palm Med RR
G0 Palm Long 8Perf
G#0 Palm Med 8Perf
A0 Palm Short 8Perf
A#0 Chugs 1
B0 Chugs 2
C1 Chugs 3
C#1 Chugs 4
D1 Chugs 5
Carvin Neck PC Long MOD 1 0–20 PC1 Down
56–90 PC Slide Fast Up Down
91–127 PC Slide Slow Up Down
Carvin Neck PC Short MOD 1 0–64 PC Palm Mute RR
65–127 PC Down 1
continued

CARVIN GUITAR: NECK
Carvin Neck PC MOD vs LEAD 0–64 PC Palm Mute RR
65–127 PC Down 1
Velocity > 100 Sustain w/ Hammer On + Pull Off
Carvin Neck Rhythm Elements
Carvin Rhythm Elements Chugs 1
Chugs 2
Chugs 3
Chugs 4
Chugs 5
PC Hammer On RR
PC Palm Mute RR
PC Pull Off RR
PC Slide Down Fast RR
PC Slide Down Slow RR
PC Slide Up Fast RR
PC Slide Up Slow RR
PC1 Down
PC2 Double RR
PC2 Down
Carvin Rhythm Tempo Sync Performances
Carvin Rhythm PC Palm Long Perf 76 bpm
Tempo Sync Performances PC Palm Med Perf 112 bpm
PC Palm Short Perf 112 bpm
FENDER JAGUAR GUITAR

Fender Jaguar Lead
Fender Jaguar Lead KS and MOD
Fender Jaguar Lead C0 Sustain Non-vib RR
KS C0–F#1 C#0 Sustain Vib RR
(continued on next page) D0 Sustain Non-vib RR 3sec
D#0 Sustain Vib RR 3sec
E0 Strum Long RR pos1
continued

Fender Jaguar Lead F0 Strum Long RR pos2
KS C0–F#1 F#0–G0 Lead Sustain Non-vibrato
(continued from prior page) F#0 Lead Hammer On + Pull Off
G0 Lead Slide Up Down
G#0 Slide Up Vib Half Tone
A0 Slide Up Vibrato Whole Tone
A#0 Scrape Long Vm
B0 Scrape Short Slide Down Vm
C1 Tremolo
C#1 Tremolo Mute
D1 120 bpm Perf
D#1 Strum Short RR
E1 1/4 Note RR
F1 8va Falls
F#1 Noise
Fender Jaguar Lead Long 0–31 Sustain Non-vib RR
MOD 1 32–64 Sustain Vib RR
Fender Jaguar Lead Long 0–64 Sustain Non-vib RR
MOD 2 65–127 Sustain Vib RR
Fender Jaguar Strum Lead Velocity < 100 Strum Long RR pos2
99 < V < 127 Sustain Non-vib RR
Velocity = 127 Sustain Vib RR
Fender Jaguar Lead Elements
Fender Jaguar Lead Elements 1/4 Note RR
(continued on next page) 8va Falls
Hammer On
Mute Tremolo
Noise
Pull Off
Scrape Long VM
continued

Fender Jaguar Lead Elements Scrape Short Slide Down VM
(continued from prior page) Slide Down
Slide Up Vib Half Tone
Slide Up Vib Whole Tone
Slide Up
Sustain Non-vib RR 3sec
Sustain Non-vib RR
Sustain Vib RR 3sec
Sustain Vib RR
Fender Jaguar Lead Tempo Sync Performances
Fender Jaguar Lead Perf 120 bpm
Tempo Sync Performances Tremolo
Fender Jaguar Strummer
Fender Jaguar Strummer KS and MOD
Fender Jaguar Strum KS C0 Strum Long RR pos1
C0–C#1 C#0 Strum Long RR pos2
D0 Strum Short RR
A5–C7 String Noise (upper range, not KS)
Fender Jaguar Strum MOD 1 0–64 Strum Long RR pos1
65–127 Strum Long RR pos2
A5–C7 String Noise
Fender Jaguar Strum Elements
Fender Jaguar Strum Strum Long RR pos1
Elements Strum Long RR pos2
Strum Short RR
Fender Telecaster Thinline Guitar

In the patch called Telecaster Strum Lead within the KS and MOD folder, the 3 articula-
tions are selected based on MIDI velocity, as specified in the table below. But be aware
that the Rhythm Pos 2 RR articulation applies only to notes up to D5. For D#5 and
above, the Non-vib articulation plays at all velocities 113 and below.

FENDER TELECASTER THINLINE GUITAR
Fender Telecaster Lead
Fender Telecaster Lead KS and
MOD
Fender Telecaster Lead KS C0 Non-vib
C0–D#1 C#0 Sustain Vib
D0 Vib Accent
D#0 Rhythm Pos 1 RR
E0 Rhythm Pos 2 RR
F0–F#0 Non-vib / Sustain Vib RR
F0 Lead Hammer On + Pull Off
F#0 Lead Slide Up Down
G0 Scream
G#0 Bend Down Fast
A0 Fall Down
A#0 Fall Up
B0 Harmonics 3 Positions
C1 Staccato RR
C#1 Scrapes
D1 Rhythm Strum Noise 1
D#1 Rhythm Strum Noise 2
Fender Telecaster Lead Long 0–31 Sustain Non-vib
MOD 1 32–63 Sustain Vib
Fender Telecaster Lead Long 0–64 Lead Sustain Non-vib
MOD 2 65–127 Lead Sustain Vib
Fender Telecaster Lead Short 0–40 Staccato RR
MOD 41–82 Lead Sustain Non-vib
83–127 Lead Sustain Vib
Fender Telecaster Strum Lead 100< V <114 Non-vib RR
* see note before this table Velocity >113 Sustain Vib RR
Velocity <100 Rhythm Pos 2 RR
continued

Fender Telecaster Lead Elements
Fender Telecaster Lead Bend Down Fast
Elements Fall Down
Fall Up
Hammer On
Harmonics 3 Positions
Pull Off
Scrapes
Scream
Slide Down
Slide Up
Staccato RR
Sustain Non-vib Down
Sustain Non-vib RR
Sustain Non-vib Up
Sustain Vib Accent
Sustain Vib Down
Sustain Vib RR
Sustain Vib Up
Vib ff
Fender Telecaster Strummer
Telecaster Strummer KS and MOD
Telecaster Rhythm KS C0 Rhythm Pos 1 RR
C0–D#0 C#0 Rhythm Pos 2 RR
D0 Rhythm Strum Noise 1
D#0 Rhythm Strum Noise 2
F5–C7 String Noise (upper range, not KS)
Telecaster Rhythm MOD 1 0–64 Rhythm Pos 1 RR
65–127 Rhythm Pos 2 RR
F5–C7 String Noise
continued

Telecaster Rhythm Elements
Telecaster Rhythm Elements Rhythm Pos 1 RR
Rhythm Pos 2 RR
Rhythm Strum Noise 1
Rhythm Strum Noise 2
STINGRAY 5 BASS
Stingray 5 Finger
Stingray 5 Finger KS and MOD
Stingray 5 Finger KS A-1 – F0 A-1 Sustain Long RR
A#-1 Sustain Short RR
B-1 Sustain Mute RR
C0–C#0 Sustain (script)
C0 Hammer On + Pull Off
C#0 Slide Up Down
D0 Fall
D#0 Doit
E0 Bend Up Down
F0 Noise
Stingray 5 Finger MOD 1 0–20 Sustain Long RR
Stingray 5 Finger Elements
Stingray 5 Finger Elements Bend Up Down Half Tone
Doit
Fall
Hammer On
Pull Off
Slide Down
Slide Up
String Noise
Sustain Long RR
Sustain Mute RR
Sustain Short RR
continued

STINGRAY 5 BASS
Stingray 5 Pick
Stingray 5 Pick KS and MOD
Stingray 5 Pick PC KS A-1 Sustain Long RR
A-1 – G#0 A#-1 Sustain Short RR
B-1 Sustain Mute RR
C0–C#0, + G0 Sustain (script)
C0 Hammer On + Pull Off
C#0 Slide Up Down
D0 Fall
D#0 Doit
E0 Bend Up Down
F0 Fast Rep RR
F#0 Fast Rep Perf
G0 Hammer On + Off Short
G#0 Noise
Stingray 5 Pick MOD 1 0–20 Sustain Long RR
21–64 Short Hammer On + Pull Off
Stingray 5 Pick Elements
Stingray 5 Pick Elements Bend Up Down Half Tone
(continued on next page) Doit
Fall
Fast Perf Reps
Fast Reps RR
Hammer On Long
Hammer On Short
Pull Off Long
Pull Off Short
Slide Down
Slide Up
String Noise
continued

STINGRAY 5 BASS
Stingray 5 Pick Elements Sustain Long Down
(continued from prior page) Sustain Long RR
Sustain Long Up
Sustain Short Down
Sustain Short RR
Sustain Short Up
LAKLAND BASS
Lakland Finger
Lakland Finger KS and Playable Patches
Lakland Finger KS C0–F#0 C0 Open Sustain
C#0 Legato
D0 Slide Down
D#0 Slide Up
E0 Slide Up Sustain
F0 Octave
F#0 Brrr (slide up and down fast)
Lakland Finger Hardcore 1
Playable Patches Hardcore 2
Super Fatty
Super Octave
Sustain RR
Sweetsus Exp
Lakland Finger Elements
Lakland Finger Elements Brrr (slide up and down fast)
FX
Legato
Octave
Open Slide Down
Open Slide Up Sustain
Open Slide Up
Open
Release Layer (release sounds at end of notes)
Staccato
continued

LAKLAND BASS
Lakland Pick
Lakland Pick KS and Playable Patches
Lakland Pick KS A-1 Open Down
A-1 – A#0 A#-1 Open Up Down
B-1 Legato
C0 Open Slide Down
C#0 Open Slide Down Fast
D0 Open Slide Up
D#0 Open Slide Up Fast
E0 Open Slide Up Sustain
F0 Octave
F#0 Brrr (slide up and down fast)
G0 Mute Down
G#0 Mute Up Down
A0 Mute Slide Down
A#0 Mute Slide Up
Lakland Pick Hardcore 1
Mute RR
Open 5-Way
Sustain RR
Lakland Pick Elements
Lakland Pick Elements Brrr (slide up and down fast)
(continued on next page) FX
Legato Mute
Legato
Mute Down
Mute Slide Down
Mute Slide Up
Mute Up Down
Octave
Open Down
continued

LAKLAND BASS
Lakland Pick Elements Open Slide Down Fast
(continued from prior page) Open Slide Down
Open Slide Up Fast
Open Slide Up
Open Up Down
Staccato Down
Staccato Up
Staccato Up Down
MUSIC MAN VINTAGE BASS

Music Man Vintage Pick
Music Man Vintage Pick KS and Playable Patches
Music Man Vintage Pick A-1 Open Down
KS A-1 – A#0 A#-1 Open Up Down
B-1 Legato
C0 Open Slide Down
C#0 Open Slide Down Fast
D0 Open Slide Up
D#0 Open Slide Up Fast
E0 Open Slide Up Sustain
F0 Octave
F#0 Brrr
G0 Mute Down
G#0 Mute Up Down
A0 Mute Slide Down
A#0 Mute Slide Up
Music Man Vintage Pick Hardcore 1
Mute RR
Open 5-Way
Sustain RR
continued

MUSIC MAN VINTAGE BASS
Music Man Vintage Pick Elements
Music Man Vintage Pick Brrr (slide up and down fast)
Elements FX
Legato Mute
Legato
Mute Down
Mute Slide Down
Mute Slide Up
Mute Up Down
Octave
Open Down
Open Slide Down Fast
Open Slide Down
Open Slide Up Fast
Open Slide Up
Open Up Down
Staccato Down
Staccato Up
Staccato Up Down
61 FENDER JAZZ FRETLESS BASS

Fender Jazz Fretless
Fender Jazz Fretless KS and Playable Patches
Fender Jazz Fretless C0 Sustain
KS A-1 – A#0 C#0 Sustain String Vib
(continued on next page) D0 Staccato
D#0 Slide Up Sustain Slow
E0 Slide Up Sustain Medium
F0 Slide Up Slow
F#0 Slide Up Medium
continued

61 FENDER JAZZ FRETLESS BASS
Fender Jazz Fretless G0 Slide Up Fast
KS A-1 – A#0 G#0 Slide Down
(continued from prior page) A0 Slide Up 8va
A#0 Harmonics 1
B0 Harmonics 2
C1 FX
Fender Jazz Fretless Hardcore 1
2-Hand Monster
Paris Accent
Paris Vib
Fender Jazz Fretless Elements
Fender Jazz Fretless FX
Elements Harmonics 1
Harmonics 2
Slide Down
Slide Up Octave
Staccato
Sustain Strong Vib
Sustain
63 HOEFNER BASS
Höfner Finger
Höfner Finger KS and Playable Patches
Höfner Finger KS C0–D#0 C0 Sustain
C#0 Slide Up
D0 Tremolo
D#0 Noise
Höfner Finger Hardcore
Playable Patches Sustain
continued

63 HOEFNER BASS
Höfner Finger Elements
Höfner Finger Elements Noise
Slide Up Sustain
Tremolo
Höfner Pick
Höfner Pick KS and Playable Patches
Höfner Pick KS C0 Sustain RR
C0–D0 C#0 Slide Up Sustain
D0 Noise
Höfner Pick Hardcore
Playable Patches Sustain RR
Höfner Pick Elements
Höfner Pick Elements Noise
Slide Up
Sustain Down
Sustain Up
Sustain Up Down
65 GIBSON EB2 BASS

Gibson EB2 Pick
Gibson EB2 KS and Playable Patches
Gibson EB2 C0 Sustain Open RR
KS C0–G0 C#0 Mute RR
D0 Slide Up Sustain
D#0 Bend Up Sustain
E0 Slide Up
F0 Tremolo
F#0 Noise 1
G0 Noise 2
continued

65 GIBSON EB2 BASS
Gibson EB2 Hardcore
Playable Patches Mute RR
Open RR
Gibson EB2 Elements
Gibson EB2 Elements Bend Up
Mute Down Velocity
Mute Up and Down
Mute Up
Noise 1
Noise 2
Open Down
Open Up Down
Open Up
Slide Down Velocity
Slide Up Sustain
Tremolo
66 SILVERTONE BASS
Silvertone Finger
Silvertone Finger KS and Playable Patches
Silvertone Finger KS C0–E0 C0 Sustain
C#0 Slide Up
D0 Bend Up
D#0 Slide Down
E0 Noise
Silvertone Finger Hardcore
Playable Patches Sustain
Silvertone Finger Elements
Silvertone Finger Elements Bend Up
Noise
Slide Down
Slide Up
continued

66 SILVERTONE BASS
Silvertone Pick
Silvertone Pick KS and Playable Patches
Silvertone Pick KS C0 Sustain RR
C0–D0 C#0 Legato
D0 Slide Up Sustain
D#0 Slide Down
E0 Noise
Silvertone Pick Hardcore 1
Sustain RR
Silvertone Pick Elements
Silvertone Pick Elements Legato
Noise
Slide Down
Slide Up Sustain
Sustain Down
Sustain Up
Sustain Up Down
72 RICKENBACKER BASS
RIckenbacker Pick
RIckenbacker KS and Playable Patches
RIckenbacker C0 Sustain RR
KS C0–G0 C#0 Slide Up Sustain
D0 Noise 1
D#0 Noise 2
RIckenbacker Hardcore
Playable Patches Sustain RR
continued

72 RICKENBACKER BASS
RIckenbacker Elements
RIckenbacker Elements Noise 1
Noise 2
Release Layer
Slide Up
Sustain Down
Sustain Up
Sustain Up Down
The EastWest studio where the newly sampled instruments were recorded.

5. Drums
58 Description of the Ministry of Rock 2 Drums

58 General MIDI Mapping
60 Use of Multi-instruments for the MOR 2 Drums
61 The Ministry of Rock 2 Drum Kits

57
Drums: Instruments and Articulations

This chapter provides specific information about each of the Drums in the Ministry of
Rock 2 library. First is a section that provides a brief overview about the specific instru-
ments. The next section describes the General MIDI (GM) layout of the drums on the
keyboard. This is followed by tables of the various drum setups. You might want to print
out some of the pages as a reference, or load this PDF into a hand-held reader for quick
access when working.
Description of the Ministry of Rock 2 Drums

The Ministry of Rock 2 drums are set up as drum kits that you can use as the produc-
ers arranged them, or that you can customize by swapping out elements, for example,
replacing the Sabian cymbals with Istanbul cymbals. They all use the same mapping of
MIDI notes to drum and articulation, so it’s easy to try out other drum kits combinations
without having to change the notes you’ve recorded in your sequencer.
All the drums were recorded with multiple microphones, and you have control in the
Player UI over how much of each sampled audio to include in the mix, and where to pan
it in the soundscape. One set of microphones sits close to the drum kit and overhead.
Another set of microphones is positioned further back to capture more of the sound of
the room. These room mics are available in 2 versions, using the signal: directly from
the mics, or after passing through a compressor to increase the overall volume (without
distortion of the loudest hits). See the description of the Drum Mixer, starting on page
15, for more details.
General MIDI Mapping

All the drums in Ministry of Rock 2 follow the same pattern when assigning drum sounds
to the MIDI keyboard. Here is a table for that mapping.
GENERAL MIDI FOR DRUMS

Notes Drum and Articulation
G0–A0 cowbell
A#0 pedal hat
B0 beater on kick drum RRx4 (with repetitions)
C1 beater off kick drum RRx4 (with repetitions)
C#1 rimshot RRx4
continued
Chapter 5: Drums 58
D1 snare middle head RRx4 (with repetitions)
D#1 snare rim crack RRx4 (with repetitions)
E1 snare outside head RRx4 (with repetitions)
F1,G1,A1, toms RRx4 (with repetitions)
B1,C2,D2
middle hat positions:
F#1, hats closed
G#1, slightly open
A#1, more open
C#2 open RRx4 (with repetitions)
D#2 ride middle ride position RRx4 (with repetitions)
E2 cymbal 1 edge RRx2 (with repetitions)
F2 cymbal 1 edge stop RRx2
F#2 cymbal 2 edge RRx2 (with repetitions)
G2 cymbal 2 edge stop RRx2
G#2 cymbal 3 edge RRx2 (with repetitions)
A2 cymbal 3 edge stop RRx2
Lite kits do not include the following mappings but the regular kits do. The lite kits are
available in the folders that include “Less Load” in the name, and are designed for com-
puter systems with smaller resources that may run out of RAM or may exhibit playback
problems when larger patches are loaded.

B2 beater on kick drum RRx4 (with repetitions) duplicate for 2-handed playing
C3 beater off kick drum RRx4 (with repetitions) duplicate for 2-handed playing
D3 snare bounce
D#3 snare flam
E3 snare roll
F3,G3,A3, toms flam RRx4 (with repetitions)
B3,C4,D4
continued
Chapter 5: Drums 59
edge hat position:
F#3, hats closed
G#3, slightly open
A#3, more open
D#4 ride edge position RRx4 (with repetitions)
E4 cymbal 1 middle position RRx2 (with repetitions)
F4 cymbal 1 middle position stop RRx2
F#4 cymbal 2 middle position RRx2 (with repetitions)
G4 cymbal 2 middle position stop RRx2
G#4 cymbal 3 middle position RRx2 (with repetitions)
C#5 rimshot RRx4 duplicate for 2 handed playing
D5 snare middle head RRx4 (with repetitions) duplicate for 2-handed playing
D#5 snare rim crack RRx4 (with repetitions) duplicate for 2-handed playing
E5 snare outside head RRx4 (with repetitions) duplicate for 2-handed playing
F5,G5,A5, toms bounce RRx2
B5,C6,D6
bell hat position:
F#5, hats closed
G#5, slightly open
A#5, more open
D#6-E6 ride bell RRx4 (with repetitions)
Use of Multi-instruments for the MOR 2 Drums

A multi-instrument opens more than one instrument at a time. And in these automatic
multis within the Ministry of Rock 2 library, PLAY assigns all the instruments to the same
MIDI channel (though you can change any channel you like if you have a reason to do
so). For the drums, this means that opening
one of the kits opens a snare instrument and
a toms instrument and a cymbals instrument
at once.
For example, let’s say you open the Gretch Metal Kit Ludwig Snare.ewi instrument, as
it appears in the Browser in the image above. When you look at
the list of open instruments at the left side of the Browser view,
you can see that 5 separate instruments have been opened and
all assigned, in this example, to MIDI channel 1. The image at
the right shows this list.
Chapter 5: Drums 60
These multiple open instruments work together on the same channel because each re-
sponds to only limits notes, as specified in the General MIDI mapping on page 58. If
you look at the keyboards, as shown together below, and you remember that only white
keys are playable, you see that there’s no overlap. Each note plays only one instrument.
(This image shows only 4 keyboards because the kit used in this example does not in-
clude HiHats.) From the top down, the keyboards show kick drums, snares, toms, and
cymbals.
The last thing to notice is that the open instruments that appear in the list in the Browser
do not seem to be specific to the Gretch Metal kit of the Ludwig snare. These instru-
ments, in fact, include all makes of instruments. But only the requested drums have
their samples loaded and are activated when a specific kit is opened.
Using the same example, select the Snares instru-

ment and look at the Articulations control in the
Player view. Scroll down until you find the one ar-
ticulation where the Loaded and Active buttons are
turned on. You will see that it’s the Ludwig Snare,
as requested in the original selection in the Browser. And every MOR 2 drum kit you
request is set up in this way.
If you decide to change out one element of a standard drum kit, this architecture does
allow you to select a different manufacturer and create a custom drum kit. For example,
you could deactivate the Ludwig Snare and load the samples for the Sonor Bergman
Snare, instead.
The Ministry of Rock 2 Drum Kits

The Drums are grouped into 7 folders that represent 3 types of drum kits plus a folder
of instrument files with grouped elements. Each of the 3 types of kits is available in a
standard version and another version designed to put a smaller load on the computer:
sç DW Kits
sç DW Kits Less Load
sç Gretch Kits
sç Gretch Kits Less Load
sç Ludwig Kits
sç Ludwig Kits Less Load
The folder called DW Kits Less Load, for

example, contains the same files as the
Chapter 5: Drums 61
folder of standard versions, but the suffix “LT” on the instrument name remind you this
is a “lite” version. See the tables of General MIDI mappings, starting on page 58, for
the differences between standard kits and their “lite” versions.
Those drum kits whose names end in “XXX” are special versions with a tighter sound and
with tuned kicks and snares. Use these versions for a more polished sound.
The seventh folder, called Grouped Elements, contains one instrument for each type
of kit component: cymbals, HiHats, Kick Drums, and so on. If you’re looking to use a
specific drum outside of a kit, open one of these files. Turn on the Loaded and Active
buttons for the drum you want (while turning off those same buttons for the drums you
do not want to hear).
The following tables list the drum kits available in each of the folders. Note that the fold-
ers of lite instruments are not listed separately, because the list is the same as for the
standard kits. And those with an “XXX” option include an indication in the listing, but
not a separate line item.
Chapter 5: Drums 62
DW DRUM KITS
DW Metal Kit Black Beauty Snare XXX
DW Snare
GMS Snare XXX
Ludwig Snare
NC1 Snare
Sonor Snare XXX
DW Rock Kit Black Beauty Snare XXX
Brady Snare
DW Snare
GMS Snare XXX
NC2 Snare XXX
Tempus Snare
GRETCH DRUM KITS

Gretch Metal Kit Black Beauty Snare XXX
GMS Snare XXX
Ludwig Snare
NC1 Snare
Sonor Snare XXX
Gretch Rock Kit Black Beauty Snare XXX
Brady Snare XXX
DW Snare
GMS Snare
NC1 Snare XXX
NC2 Snare
Sonor Snare
Tempus Snare
Chapter 5: Drums 63
LUDWIG DRUM KITS
Ludwig Hip Hop Kit NC1 Snare
Ludwig Metal Kit Black Beauty Snare XXX
Brady Snare
DW Snare
NC1 Snare XXX
NC2 Snare
Sonor Snare XXX
Tempus Snare XXX
Ludwig Rock Kit Black Beauty Snare XXX
Brady Snare XXX
GMS Snare
NC1 Snare
Tempus Snare XXX
Chapter 5: Drums 64
EASTWEST/QUANTUM LEAP LICENSE AGREEMENT
EASTWEST END USER LICENSE AGREEMENT: Please read the terms of the following
audio samples License Agreement before using these audio samples. By opening the
packaging and installing these audio samples, you agree to become bound by the terms
of the License Agreement. If you do not agree with the terms of the License Agreement,
do not open the packaging or use these audio samples. East West Sounds, Inc. (“Licen-
sor”) guarantees that all of the samples with these discs have been created and recorded
specially for this project, and any similarity to any other recording is unintentional.
1. The audio samples recorded with these discs remain the property of Licensor and are
licensed, not sold, to you for use with your sampling software or equipment. 2. A right to
use the enclosed sounds is granted to the original end-user of the product (Licensee) and
is NOT transferable. 3. The Licensee may modify the sounds. LICENSEE MAY USE THE
SOUNDS FOR COMMERCIAL PURPOSES WITHIN MUSICAL COMPOSITIONS. 4. The
following terms apply to the use of loops (compositions that contain a combination of
sound samples that can be repeated to form a continuous piece of music) used in ‘music
or production libraries’ that are relicensed to multiple third parties. (1) Loops must be
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to the composition. (2) The entire loop cannot be left exposed at any time in the com-
position. (3) If you have any doubts a composition meets this criteria, you may submit it
to [email protected] for written approval. Please do not send audio or MP3
files, send us a link to your composition on your web server. 5. This license expressly for-
bids resale, relicensing or other distribution of these sounds, either as they exist on these
discs, or any modification thereof. You cannot sell, loan, rent, lease, assign, upload to or
download from any server, or transfer all or any of the enclosed sounds to another user,
or for use in any competitive product. 6. Licensor will not be responsible if the contents
of these discs does not fit the particular purpose of the Licensee. If in doubt over us-
age, please contact East West Sounds, Inc. by fax: (USA) 323-957-6966 or email: li-
[email protected]. ALL RIGHTS RESERVED. ©2011 EAST WEST SOUNDS,
).#ççsçç7INDOWSç806ISTAçAREçREGISTEREDçTRADEMARKSçOFç-ICROSOFTç#ORPORATIONç0ENTIUMç
is a registered trademark of Intel. VST Instruments is a registered trademark of Steinberg
Media Technologies AG. OS X, Audio Units and Core Audio are registered trademarks
of Apple, Inc. All other product and company names are trademarks of their respective
holders. All specifications are subject to change without notice.
License Agreement 65

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Quantum Leap Ministry of Rock 2

PLAY™ is a trademark of East West Sounds, Inc.

© East West Sounds, Inc., 2011. All rights reserved.

East West Sounds, Inc.

For questions about licensing of products: [email protected]

For more general information about products: [email protected]

Click on this text to open the

Using the Adobe Acrobat Features

The Master Navigation Document

Online Documentation and Other Resources

The address is:

The address of the forums is:

2. Quantum Leap Ministry of Rock 2, An Overview

9 The Design Point For the Ministry of Rock 2 Library

Click on this text to open the

Ministry of Rock 2, An Overview

Chapter 2: Ministry of Rock 2, An Overview 9

Chapter 2: Ministry of Rock 2, An Overview 10

3. The Ministry of Rock 2 User Interface

13 Round Robin Reset Button

Click on this text to open the

The Ministry of Rock 2 User Interface

sç Round Robin Reset sç ADT

Chapter 3: The Ministry of Rock 2 User Interface 12

Stereo Double Controls

Chapter 3: The Ministry of Rock 2 User Interface 13

The Graphical Representation of the Envelope

Chapter 3: The Ministry of Rock 2 User Interface 14

The 3 buttons in each column give users the ability to Mute,

The Browser View

Chapter 3: The Ministry of Rock 2 User Interface 15

4. Guitars and Basses

17 Descriptions of the Ministry of Rock 2 Guitars and Basses

Click on this text to open the

Guitars and Basses:

Descriptions of the Ministry of Rock 2 Guitars and Basses

Newly Sampled Instruments

Chapter 4: Guitars and Basses 17

The Baritone is available for both lead and rhythm styles.

Gibson Les Paul

Chapter 4: Guitars and Basses 18

Remastered Basses from Hardcore Bass and XP

The Lakland Bass is available both fingered and picked.

Music Man Vintage Picked

61 Fender Jazz Fretless

63 Höfner Violin Bass

Chapter 4: Guitars and Basses 19

A Note from the Producer

Chapter 4: Guitars and Basses 20

In some cases these instruments also contain articulations that are

Chapter 4: Guitars and Basses 21

Tables of the Instruments

Chapter 4: Guitars and Basses 22

Chapter 4: Guitars and Basses 23

Chapter 4: Guitars and Basses 24

Carvin Guitar, Bridge Pickup

CARVIN GUITAR: BRIDGE

Chapter 4: Guitars and Basses 25

Chapter 4: Guitars and Basses 26

Chapter 4: Guitars and Basses 27