he2 woodwind ensembles manual-long

7/27/2019 HE2 Woodwind Ensembles Manual-Long

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Vienna Symphonic Library

Horizon Series

Woodwind Ensembles

Flute ensemble (3)

Oboe ensemble (3)

Clarinet ensemble (3)

Bassoon ensemble (3)



Contents

© 2004 Vienna Symphonic Library GmbH p 2/49

Contents

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Registration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Getting started. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3TASCAM GigaStudio/GigaSampler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Emagic EXS24 mk II. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

The Mapping List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4Overview of instruments and playing techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Instruments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Playing techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Programming features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Category and instrument names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5TASCAM GigaStudio/GigaSampler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Emagic EXS24 mk II. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Description instruments / folders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Controllers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Abbreviations. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7Instruments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Playing techniques and other abbreviations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7Pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Mappings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

01 Flute ensemble (3) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1001 FL-3_SINGLE-NOTES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

02 FL-3_DYNAMICS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

03 FL-3_TRILLS+CLUSTER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

20 FL-3_PERF-LEGATO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

21 FL-3_PERF-REP_leg_4-60 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

22 FL-3_PERF-REP_port_8-125 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

23 FL-3_PERF-REP_stac_16-120 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

02 Oboe ensemble (3). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

01 OB-3_SINGLE-NOTES. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2002 OB-3_DYNAMICS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

03 OB-3_TRILLS+CLUSTER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

20 OB-3_PERF-LEGATO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

21 OB-3_PERF-REP_leg_4-60. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

22 OB-3_PERF-REP_port_8-125 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

23 OB-3_PERF-REP_stac_16-120 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

03 Clarinet ensemble (3). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3001 KL-3_SINGLE-NOTES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

02 KL-3_DYNAMICS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

03 KL-3_TRILLS+CLUSTER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

20 KL-3_PERF-LEGATO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

21 KL-3_PERF-REP_leg_4-60 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

22 KL-3_PERF-REP_port_8-125 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3923 KL-3_PERF-REP_stac_16-125 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

04 Bassoon ensemble (3) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4101 FA-3_SINGLE-NOTES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

02 FA-3_DYNAMICS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

03 FA-3_CLUSTER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

20 FA-3_PERF-LEGATO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

21 FA-3_PERF-REP_leg_4-60 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

22 FA-3_PERF-REP_port_8-125 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

23 FA-3_PERF-REP_stac_16-130 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49



Introduction


IntroductionWe thank you for purchasing this package of the Vienna Symphonic Library’s Horizon Series. You are now the owner of part

of the most comprehensive Orchestral Sample Library that has ever been created. The structure of the library has been

kept as intuitive as possible, and we have taken great care in recording these samples. There may be different views on

“purity”, but we don’t think that it means excluding all the reverb by recording in an anechoic studio, as this tends to make

an instrument sound flat, if not dead… Rather, we opted for recordings with a measured amount of ambience, so that an

instrument may stand on its own without sounding uninspired, but still leave you the freedom to add your own ideas aboutspace.

We hope that you are satisfied with this sample library, and that it will make your experience with digital composition and

production on the computer much more enjoyable!

RegistrationIf you want to download the Performance Tool and take advantage of all of the advanced features of this library, please

register at our web site!

To do so, go to www.vsl.co.at/user. If you are a registered user already, just enter your user name and password. If you

purchased your product in a music shop or from one of our international distributors, enter your e-mail address and the

password of your choice to register.

Once you’re logged in, you can register your product(s) by selecting the Product Registration menu. Enter the serial number

which is printed on the back sleeve of the DVD case. Then click on the Register button.

Support for further platforms in the form of sidegrades (as of this printing, Tascam GigaStudio and Emagic EXS24 mk II are

available) can be acquired in our online shop and will be registered upon purchase.

Getting started

TASCAM GigaStudio/GigaSampler

Installation

The files on the DVD are provided as self-extracting files. To extract a file’s contents, simply double-click on it and specify a

target folder on your hard disk where the extracted files should be copied to. To extract single files from a packed file, use

WinRar (included on DVD) to open the archives. Some of the files are larger than 1 GB, so make sure there is enough space

on your hard disk. For a better overview, keeping the default directory structure of the DVD is recommended. The disk or

folder where the .gig files are placed must be selected in Giga’s “Quicksound – Advanced” settings.

Loading .gig files

GigaStudio/GigaSampler has its own display of active drives and directories. Here, you can access the library files. Clicking

on the “+” sign next to a filename will display the instruments it contains. You can make your selection by double-clicking on

the instrument name (loads into the next free channel) or dragging it to the channel you want. Due to the size of many ofthe.gig files you might run into computer memory trouble if some instruments are already loaded and you try to load an

entire file instead of single patches.

Description instruments

In every .gig file, there are a number of description instruments. These are written in capitals and do not contain any samples.

They only serve to identify the contents of a given .gig file more clearly. If you load an entire file that contains BASIC

INSTRUMENTS, for example, this description instrument will be loaded into the channel, and you will not hear anything until

you select a real instrument from Giga’s “Loaded Instruments” display. The description instruments are further explained

below.



Getting started


Emagic EXS24 mk II

Installation

The files on the DVD are packed as self-extracting files for a PC. To extract them onto a PC, simply double-click on a file and

specify the target folder; or use WinRar (included on every DVD) to extract single files. To extract them on the Mac, use

StuffIt Expander v7.0.3 or higher. Drag the files onto the tool’s icon and specify the target folder. OS X users can also use

UnRarX v2.0 (included on DVD) for speedier extraction.

Extract the content of the “Sampler Instruments” folder on the DVD to the “Sampler Instruments” folder in the Logic Audiodirectory. The instruments will appear automatically in the EXS24 instrument display the next time you launch Logic Audio.

Important for Mac users: Do NOT create any further subdirectories. Mac OS/EXS24 allows a maximum of 5 directory levels,

which are already taken up by the file structure of the Vienna Symphonic Library. The creation of further subdirectories will

result in their instruments not appearing in the EXS24 display.

The “VSL Samples” folder, which contains the .wav files, can be extracted to one or more sufficiently fast hard drives.

The more hard drives that are attached to the system, the longer the loading time for single instruments will become.

Therefore, we recommend unmounting any hard drive that is not in use. Note for Mac users: PC-Exchange formatted hard

drives will multiply the loading time by a factor of 10 to 15.

Basic folder structure

The Vienna Symphonic Library is structured hierarchically throughout. This means that within the “VSL Samples” there is amain folder for the library data. This directory contains subdirectories for instruments or instrument groups, e.g., “FLUTE

ENSEMBLE”. This directory again contains subgroups, e.g., “01 FL-3_SINGLE-NOTES”. Within these, you will find patch

category folders, which contain the actual instruments. These folders are described under Category and instrument

names below.

The Mapping List

The mapping list gives descriptions of the contents of your library. In the printed manual, every instrument’s bank number,

program number (for GigaStudio), mapping range etc. are listed. The unabridged manual can be downloaded from

www.vsl.co.at. It lists all the mapping data for every instrument and patch.

Similar instruments that differ only in speed or tone length and have consecutive program numbers will be comprised in one

description with the name changes in brackets. If the instrument mapping differs from that of a normal chromaticinstrument, the keyboard layout will be shown in an illustration. Combinations also contain keyswitch information.

Differences between GigaStudio/GigaSampler and EXS24

Due to the differences between TASCAM GigaStudio and Emagic EXS24 mk II, some instruments may not be available in

one or the other. EXS24 does not support release control, but allows more dimensions, so that “_all” instruments for EXS24

will sometimes contain more patches. Where such instruments dedicated to only one of the platforms appear, the entries

will be marked separately with either “Giga” or “EXS”.

Bank and Program numbers do not apply to EXS instruments because of the different structure of the EXS database.

The mapping range of EXS instruments generally is an octave lower than indicated, due to EXS’ Middle C assignment. The

mapping list gives the ranges for GigaStudio/GigaSampler; for EXS, one simply has to transpose these down by one octave.

RAM requirements for EXS instruments cannot be determined as easily as in GigaStudio; but basically, one can assume

that an EXS instrument will not require more RAM than its Giga counterpart does.



Overview of instruments and playing techniques


Overview of instruments and playing techniques

Instruments

Flute ensemble (3 players)

Oboe ensemble (3 players)

Clarinet ensemble (3 players)Bassoon ensemble (3 players)

Playing techniques

Single notes

Staccato 2 variations

Portato 0.3 and 0.5 seconds tone length, 2 variations each

Long notes sustained notes

Dynamics Crescendo and diminuendo, 2, 3, and 5 seconds tone length

Special dynamics fp, sfz, sffz

Trills half & whole tone trills with constant dynamics, crescendo and diminuendoClusters Three-note clusters, sustained

Performances

Legato variations for slow and fast lines

Repetitions legato, portato, and staccato Performance repetitions, piano, forte, crescendo and diminuendo

Programming features

Release triggers, layer blending via velocity or modwheel, keyswitch combinations, keyswitch velocity, looped samples,

release control.

Category and instrument names

TASCAM GigaStudio/GigaSampler

The instruments contained in the files are named and sorted according to the following criteria:

For every main group, there are description instruments. These are written in capital letters and do not contain any

samples. They should only help you to quickly find the proper section.

Generally, you should only load patches from the quicksound database, as you will rarely need the full number of

instruments contained in a file, and as some of the files are quite large.

Emagic EXS24 mk IIThe instrument folders contain descriptive subdirectories according to the type of patches they contain. These are intended

to help you get your bearings within the library structure, so that you can easily find what you need. Within these directories,

the naming and numbering of instruments is identical to the GigaStudio version.

Description instruments / folders

BASIC INSTRUMENTS

These contain all basic instruments without combinations – no key switches, modwheels, release triggers, etc. All

combinations and variations in the following categories are based on the BASIC INSTRUMENTS.



Controllers


BASIC COMBINATIONS

In Performance sets, this heading replaces “basic instruments” since the instruments contained are already combined.

Combinations and variations in the following categories are based on BASIC COMBINATIONS.

RELEASE CONTROL

These allow control of the instrument’s release with the modwheel. Please note: release control instruments are only

available in GigaStudio/GigaSampler.

RELEASE TRIGGER

Instruments marked with the extension “+RS” have release samples added which are triggered upon releasing the key, thus

providing a natural release instead of the quick fade typical of an envelope release.

COMBINATIONS

Combinations of different BASIC INSTRUMENTS selected via key switch and/or modulation switch.

Two-instrument combinations are marked with a “+” sign between the instrument names. Combinations of more than two

instruments are named according to the instruments at either extreme, e.g., “stac-sus” will indicate a range of articulations

from staccato on one end to sustained on the other.

Combined instruments with release triggers can also be found under this heading.

“+ts" instruments are available only for EXS 24. These patches are equipped with a preconfigured Alternation toolset.

MODWHEEL BLEND

Velocity layers in this section are arranged so that the dynamic strength of the instrument can be changed with the

modulation wheel. The switches have an overlapping area where the tones of two layers blend.

VELOCITY BLEND

Velocity layers in this section are arranged so that the dynamic strengths of the instruments blend gradually into each other

depending on the strength of the keystroke.

KEYSWITCH VELOCITY

Velocity layers in this section are arranged so that the dynamic strength can be changed with key switches, thus allowingyou to play, e.g., only piano or forte samples.

ControllersIn the programming of the Horizon Series, we consciously avoided controller functions that cannot be handled via the

keyboard. This means that we used only key switches and the modwheel as controllers for instrument changes or dynamic

layers. Our Midi tools will perform a lot of the functions you would otherwise have to implement by hand.

The Vienna Symphonic Library website’s User Area will offer the complete articulation file structure for download. Not only

will the factory settings continuously improve; we also want to offer alternatives like .art files optimized for breath

controllers, for live performance, and so on.

Key switches

Key switches are used in instrument combinations to switch from one instrument to another. Actually, this is the simplest

kind of controlling as you don’t even need a modulation wheel on your keyboard. The switching keys are mapped outside the

playing range of the instrument so that they won’t interfere with the music you play. To switch to the desired instrument,

simply press the corresponding key on the keyboard.

Modwheel

The modulation wheel can be used for a variety of purposes. It is a continuous controller, able to send values from 0 to

127, and thus can be used for switching as well as for gradual blending between two instruments.



Abbreviations


In combinations, key switches and modwheel are often employed simultaneously, e.g., for crescendo/diminuendo with

various tone lengths, where the dynamics are controlled by the modwheel and the tone length by key switch.

Abbreviations

Instrument abbreviations always refer to the instrument’s German name. Other abbreviations like playing techniques are taken mostly from

the most common term, which normally will be Italian, and in some cases English or German. Here is a list of the abbreviations used in

this set:

Instruments

Abbreviation English German

FA Bassoon Fagott

FL Flute Flöte

KL Clarinet Klarinette

OB Oboe Oboe

Playing techniques and other abbreviations

Abbreviation Meaning1+2 key switch combination of two variations

16-130, … note value and speed, e.g., 16ths at

130 BPM

1s, 2s, … 1, 2, … seconds tone length

2Lay, 3Lay, … 2, 3, … dynamic layers

all combination of all the instruments of a

type or file

cre crescendo

dim diminuendo

dyn combination crescendo/diminuendo

filter filter control by modwheel

L looped

Lay layered instrument, e.g., for modhweelblending

Abbreviation Meaningleg legato

mod modwheel

perf performance

po, port portato

RC release control

rep repetition

rep9 9 repetitions

RS release samples

st, stac staccato

sus sustained

tr trill

tr-GS whole tone trill

tr-HS half tone trilllvel velocity

PitchFor designating pitch, the Vienna Symphonic Library uses International Pitch Notation (IPN), which was agreed upon

internationally under the auspices of the Acoustical Society of America. In this system the international standard of

A=440 Hz is called A4 and middle C is C4. All pitches are written as capital letters, their respective octave being indicated

by a number next to it. The lowest C on the piano is C1 (the A below that is A0), etc.



Woodwind Ensembles

Mappings


Woodwind Ensembles

MappingsDue to the size of this library, and since the woodwind ensemble files basically all have the same layout, the following

mapping list provides in-depth data only for the Flute ensemble. The other ensembles are listed in reduced form. If you

would like to have the complete mapping information, please register at our website www.vsl.co.at to download the

unabridged manual.



01 Flute ensemble (3)



Description

The flute is a woodwind instrument and usually made of metal (silver, gold, platinum) or wood (grenadilla, coco).

The woodwind section of the modern orchestra usually uses two flutes (and a piccolo or bass flute).

Range and notation

The standard range is from B3–D7 (forced up to F7). The concert flute in C is a non-transposing instrument notated in treble

clef.

Sound characteristics

Airy, light, poetic, mellow, bright, wafting, ethereal, rich, soft, graceful, penetrating, brilliant, clear, shrill, silvery, wind-like,

whistling, whispering, humming, filigree, sighing, aspirate.

The timbre is homogeneous in all registers with only the very lowest and highest notes exhibiting any different qualities.

The lowest notes can sound rather dull, dry and hollow which gives them a melancholy character.

In the middle register the flute sounds mellow, light, wafting, bright and rich. These characteristics are often used for solowork. In quiet passages the flute’s middle register sounds particularly graceful.

The higher notes possess great brilliance and can sound penetrating and shrill.

Combination with other instruments

Like the horn, the flute blends extremely well with all instrument groups. Particularly good blends are achieved with the

woodwinds and the strings. High notes are ideally suited for playing melody lines along with the violins, and are therefore

found fulfilling precisely this task in practically every orchestral work.

Flute ensemble, 3 players: single notes, dynamics, trills and clusters, and performance legato and repetitions.

01 FL-3_SINGLE-NOTES

Staccato, portato 0.3 and 0.5 sec., each with two variations, and sustained notes.

Range: B3–D7

BASIC INSTRUMENTS Bank: 0

FL-3_stac-1 Prog: 1 Samples: 111

Staccato, variation 1. 3 velocity layers.

Mapping V1 V2 V3

Dynamic: p mf f

Upper vel.: 55 108 127

FL-3_stac-2 Prog: 2 Samples: 111Staccato, variation 2. 3 velocity layers.

FL-3_0'3s-1 Prog: 3 Samples: 148

Portato, 0.3 sec., variation 1. 4 velocity layers.

Mapping V1 V2 V3 V4

Dynamic: pp p mf f

Upper vel.: 55 88 108 127







Mapping V1 V2 V3 V4

Dynamic: pp p mf f

Upper vel.: 55 88 108 127



Mapping V1 V2 V3 V4

Dynamic: pp mp mf f

Upper vel.: 55 88 108 127



Mapping V1 V2 V3 V4

Dynamic: pp mp mf f

Upper vel.: 55 88 108 127

FL-3L_sus Prog: 7 Samples: 57

Sustained. 3 velocity layers.

Mapping V1 V2 V3

Dynamic: p mf f

Upper vel.: 55 108 127

RELEASE CONTROL (Giga) Bank: 1 Modwheel: release timeThe release time of +RC instruments can be controlled with the modwheel.

FL-3_stac+RC Prog: 1

FL-3_0'3s+RC Prog: 2

FL-3_0'5s+RC Prog: 3

FL-3L_sus+RC Prog: 4

RELEASE TRIGGER Bank: 2+RS instruments contain release samples which are triggered when the key is released.

FL-3L_sus+RS Prog: 1

Sustained, with release samples.

FL-3_RS Prog: 2 Samples: 57Release samples for FL-3L_sus+RS. 3 velocity layers.

Mapping V1 V2 V3

Dynamic: p mf f

Upper vel.: 55 108 127

COMBINATIONS Bank: 3

FL-3_stac-1+2 Prog: 1 Keyswitch: C1–C#1

Staccato, variations 1 and 2. Use key switches to change variations.

Key switches:

C1 – var. 1

C#1 – var. 2

FL-3_0'3s-1+2 Prog: 2 Keyswitch: C1–C#1Portato, 0.3 sec., variations 1 and 2. Use key switches to change variations.

Key switches:

C1 – var. 1

C#1 – var. 2

FL-3_0'5s-1+2 Prog: 3 Keyswitch: C1–C#1

Portato, 0.5 sec., variations 1 and 2. Use key switches to change variations.

Key switches:

C1 – var. 1

C#1 – var. 2





FL-3_stac-sus Prog: 4 Keyswitch: C1–D#1

Staccato, portato with 0.3 and 0.5 sec. (1st variations), and sustained. Use key switches to change instruments.

Key switches:

C1 – staccato

C#1 – portato 0.3 sec.

D1 – portato 0.5 sec.

D#1 – sustained

FL-3_stac-1+2+ts (EXS) Keyswitch: C1–C#1

This patch and the following are equipped with preconfigured Alternation toolsets.

FL-3_0'3s-1+2+ts (EXS) Keyswitch: C1–C#1

FL-3_0'5s-1+2+ts (EXS) Keyswitch: C1–C#1

FL-3_stac-sus+ts (EXS) Keyswitch: C1–D#1

MODWHEEL BLEND Bank: 4 Modwheel: layerFor "mod" instruments, use the modwheel to blend between dynamic layers.

FL-3_stac_3Lay-mod Prog: 1

Staccato, 1st variation, 3 layers.

Modwheel:

0 – p

80 – mf127 – f

FL-3_0'3s_4Lay-mod Prog: 2

Portato, 0.3 sec., 1st variation, 4 layers.

Modwheel:

0 – pp

56 – p

96 – mf

127 – f

FL-3_0'5s_4Lay-mod Prog: 3


Modwheel:

0 – pp56 – mp

96 – mf

127 – f

FL-3L_sus_3Lay-mod Prog: 4

Sustained, 3 layers.

Modwheel:

0 – p

80 – mf

127 – f

VELOCITY BLEND Bank: 5

For "vel" instruments, layers are blended through the keystroke velocity.

FL-3_stac_3Lay-vel Prog: 1


Velocity:

0 – p

80 – mf

127 – f

FL-3_0'3s_4Lay-vel Prog: 2






Velocity:

0 – pp

56 – p

96 – mf

127 – f

FL-3_0'5s_4Lay-vel Prog: 3


Velocity:

0 – pp

56 – mp

96 – mf

127 – f

FL-3L_sus_3Lay-vel Prog: 4


Velocity:

0 – p

80 – mf

127 – f

KEYSWITCH VELOCITY Bank: 6With keyswitch velocity instruments, use keyswitches to change the dynamic strength.

FL-3_stac_p-f Prog: 1 Keyswitch: C1–D#1

Staccato, var. 1.

Key switches:

C1 – p

C#1 – mf

D1 – f

D#1 – f2

FL-3_0'3s_pp-f Prog: 2 Keyswitch: C1–D#1

Portato, 0.3 sec., var. 1.

Key switches:

C1 – ppC#1 – p

D1 – mf

D#1 – f

FL-3_0'5s_pp-f Prog: 3 Keyswitch: C1–D#1


Key switches:

C1 – pp

C#1 – mp

D1 – mf

D#1 – f

FL-3L_sus_p-f Prog: 4 Keyswitch: C1–D#1

Sustained.

Key switches:

C1 – p

C#1 – mf

D1 – f

D#1 – f2

02 FL-3_DYNAMICS

Strong dynamics, 2, 3, and 5 sec. tone length, fortepiano, sforzato, and sforzatissimo.





Range: B3–D7


FL-3_cre3_2s Prog: 1 Samples: 19

Strong crescendo, tone length: 2 sec.

FL-3_cre3_3s Prog: 2 Samples: 19

Strong crescendo, tone length: 3 sec.

FL-3_cre3_5s Prog: 3 Samples: 19Strong crescendo, tone length: 5 sec.

FL-3_dim3_2s Prog: 4 Samples: 19

Strong diminuendo, tone length: 2 sec.





FL-3_fp Prog: 7 Samples: 37

Fortepiano.

FL-3_sfz Prog: 8 Samples: 37

Sforzato.

FL-3_sffz Prog: 9 Samples: 37

Sforzatissimo.


FL-3_cre3_2s+RC Prog: 1



FL-3_dim3_2s+RC Prog: 4



FL-3_fp+RC Prog: 7

FL-3_sfz+RC Prog: 8

FL-3_sffz+RC Prog: 9


FL-3_dyn3_2s Prog: 1 Modwheel: cresc/dim

Strong crescendo and diminuendo, tone length: 2 sec. Use the modwheel to switch between crescendo and diminuendo.

Modwheel:

0 – crescendo

127 – diminuendo

FL-3_dyn3_3s Prog: 2 Modwheel: cresc/dimStrong crescendo and diminuendo, tone length: 3 sec. Use the modwheel to switch between crescendo and diminuendo.

Modwheel:

0 – crescendo

127 – diminuendo

FL-3_dyn3_5s Prog: 3 Modwheel: cresc/dim


Modwheel:

0 – crescendo

127 – diminuendo





FL-3_tr-GS_cre Prog: 5 Samples: 17

Whole tone trills, crescendo.

FL-3_tr-GS_dim Prog: 6 Samples: 17

Whole tone trills, diminuendo.

FL-3L_cluster Prog: 7 Samples: 36

Three-note clusters, sustained. 2 velocity layers.

Mapping V1 V2

Dynamic: p fUpper vel.: 88 127


FL-3L_tr-HS+RC Prog: 1

FL-3_tr-HS_cre+RC Prog: 2

FL-3_tr-HS_dim+RC Prog: 3

FL-3L_tr-GS+RC Prog: 4

FL-3_tr-GS_cre+RC Prog: 5

FL-3_tr-GS_dim+RC Prog: 6

FL-3L_cluster+RC Prog: 7


FL-3L_tr-HS+RS Prog: 1

Half tone trills, with release samples.

FL-3L_tr-GS+RS Prog: 2

Whole tone trills, with release samples.

FL-3L_cluster+RS Prog: 3

Clusters, with release samples.

FL-3_RS_tr-HS Prog: 4 Samples: 36

Release samples for half tone trills. 2 velocity layers.

Mapping V1 V2

Dynamic: p f

Upper vel.: 88 127

FL-3_RS_tr-GS Prog: 5 Samples: 35

Release samples for whole tone trills. 2 velocity layers.

Mapping V1 V2

Dynamic: p f

Upper vel.: 88 127

FL-3_RS_cluster Prog: 6 Samples: 36

Release samples for clusters. 2 velocity layers.


FL-3L_tr-HS+GS Prog: 1 Keyswitch: C1–C#1

Half and whole tone trills. Use key switches to change between half and whole tone trills.

Key switches:

C1 – half tone

C#1 – whole tone

FL-3L_tr-HS+GS+RS Prog: 2 Keyswitch: C1–C#1

Half and whole tone trills, with release samples. Use key switches to change between half and whole tone trills.

Key switches:

C1 – half tone

C#1 – whole tone





FL-3_tr-HS_dyn Prog: 3 Modwheel: cresc/dim

Half tone trills, crescendo and diminuendo. Use the modwheel to switch between crescendo and diminuendo.

Modwheel:

0 – crescendo

127 – diminuendo

FL-3_tr-GS_dyn Prog: 4 Modwheel: cresc/dim

Whole tone trills, crescendo and diminuendo. Use the modwheel to switch between crescendo and diminuendo.

Modwheel:0 – crescendo

127 – diminuendo


FL-3L_tr-HS_2Lay-mod Prog: 1

Half tone trills.

Modwheel:

0 – p

127 – f

FL-3L_tr-GS_2Lay-mod Prog: 2

Whole tone trills.Modwheel:

0 – p

127 – f

FL-3L_cluster_2Lay-mod Prog: 3

Clusters.

Modwheel:

0 – p

127 – f

VELOCITY BLEND Bank: 5For "vel" instruments, layers are blended through the keystroke velocity.

FL-3L_tr-HS_2Lay-vel Prog: 1Half tone trills.

Velocity:

0 – p

127 – f

FL-3L_tr-GS_2Lay-vel Prog: 2

Whole tone trills.

Velocity:

0 – p

127 – f

FL-3L_cluster_2Lay-vel Prog: 3

Clusters.

Velocity:

0 – p

127 – f

20 FL-3_PERF-LEGATO

Mezzoforte performance legato for slow and fast legato phrases.

Performance Tool: Horizon Legato

PlayZone: B3–D7





BASIC COMBINATIONS Bank: 0

FL-3_po-rep9_8-128_p Prog: 1 Samples: 171

8ths at 128 BPM, piano.

FL-3_po-rep9_8-128_f Prog: 2 Samples: 171

8ths at 128 BPM, forte.

FL-3_po-rep9_8-128_cre Prog: 4 Samples: 171

8ths at 128 BPM, crescendo.

FL-3_po-rep9_8-123_dim Prog: 5 Samples: 171

8ths at 123 BPM, diminuendo.

FL-3_po-rep9_8-128 (EXS)

8ths at 128 BPM, piano/forte.

FL-3_po-rep9_8-128_dyn (EXS) Modwheel: cresc/dim

8ths at 128/123 BPM, crescendo and diminuendo. Use the modwheel to switch between crescendo and diminuendo.

Modwheel:

0 – crescendo

127 – diminuendo

MODWHEEL BLEND (EXS) Modwheel: layerUse the modwheel to blend between dynamic layers.

FL-3_po-rep9_8-128_2Lay


Modwheel:

0 – p

127 – f

23 FL-3_PERF-REP_stac_16-120

Staccato repetitions with 9 repetition layers, 16ths at 115 BPM, piano; 120 BPM, forte; 117 BPM, crescendo; and 120

BPM, diminuendo. Set the release time of the Performance Tool to about 15ms to achieve good results.

Performance Tool: Repetition ModePlayZone: B3–D7 Repetitions: 9 First Keyswitch Delay: 40ms


FL-3_st-rep9_16-115_p Prog: 1 Samples: 171


FL-3_st-rep9_16-120_f Prog: 2 Samples: 171


FL-3_st-rep9_16-117_cre Prog: 4 Samples: 171


FL-3_st-rep9_16-120_dim Prog: 5 Samples: 171

16ths at 120 BPM, diminuendo.FL-3_st-rep9_16-120 (EXS)

16ths at 115/120 BPM, piano/forte.

FL-3_st-rep9_16-120_dyn (EXS) Modwheel: cresc/dim

16ths at 117/120 BPM, crescendo and diminuendo. Use the modwheel to switch between crescendo and diminuendo.

Modwheel:

0 – crescendo

127 – diminuendo



02 Oboe ensemble (3)



FL-3_st-rep9_16-115_2Lay

16ths at 115/120 BPM, piano/forte.

Modwheel:

0 – p

127 – f


Description

The oboe is a woodwind instrument in the soprano register. Because of its mouthpiece, consisting of two reeds, the oboe is

classified as a double-reed instrument.

Modern woodwind sections usually use two oboes (and one English horn). Since the 19th century the oboe in the orchestra

has had a very special role: it plays the tuning note.

Range and notation

The oboe’s range is from Bb3–G6 (A6).The oboe is a non-transposing instrument notated in treble clef.


Clear, bright, penetrating, acerbic, keen, biting, rasping, reedy, powerful, robust, full, insistent.

The oboe’s low notes sound thick, heavy and melancholy.

The middle register is the region most often used: bright, forceful, reedy. Many oboe solos make use of this area and its

manifold means of expression: cheerful rural scenes, idyllic pastoral romance, light-footed exuberance, tranquility, grief,

lamentation, loneliness and yearning.

The higher they go the less volume, substance and expressiveness the oboe’s notes have. The highest notes (G6 and A6)

are biting and shrill.


Like all woodwinds the oboe achieves the best blend with other woodwinds and stringed instruments. It makes the strings

sound more intense, while losing some of its own keenness. One of the most common sound combinations of all is the oboe

and violin played in unison, since both are excellent melody instruments.

From the brass instruments the trumpet and horn are well suited for playing in combination with the oboe, the trombones

only blend when played muted.

Oboe ensemble, 3 players: single notes, dynamics, trills and clusters, and performance legato and repetitions.

01 OB-3_SINGLE-NOTES

Staccato, portato 0.3 and 0.5 sec., each with two variations, and sustained notes.

Range: A#3–G#6


OB-3_stac-1 Prog: 1 Samples: 93






Mapping V1 V2 V3

Dynamic: p mf f

Upper vel.: 55 108 127

OB-3_stac-2 Prog: 2 Samples: 93


OB-3_0'3s-1 Prog: 3 Samples: 93


Mapping V1 V2 V3

Dynamic: p mf f

Upper vel.: 55 108 127



Mapping V1 V2 V3

Dynamic: p mf f

Upper vel.: 55 108 127



Mapping V1 V2 V3

Dynamic: p mf f

Upper vel.: 55 108 127



Mapping V1 V2 V3

Dynamic: p mf f

Upper vel.: 55 108 127

OB-3L_sus Prog: 7 Samples: 60


Mapping V1 V2 V3

Dynamic: p mf f

Upper vel.: 55 108 127


OB-3_stac+RC Prog: 1

OB-3_0'3s+RC Prog: 2

OB-3_0'5s+RC Prog: 3

OB-3L_sus+RC Prog: 4


OB-3L_sus+RS Prog: 1


OB-3_RS Prog: 2 Samples: 60Release samples for OB-3L_sus+RS. 3 velocity layers.

Mapping V1 V2 V3

Dynamic: p mf f

Upper vel.: 55 108 127


OB-3_stac-1+2 Prog: 1 Keyswitch: C1–C#1






Key switches:

C1 – var. 1

C#1 – var. 2

OB-3_0'3s-1+2 Prog: 2 Keyswitch: C1–C#1


Key switches:

C1 – var. 1

C#1 – var. 2

OB-3_0'5s-1+2 Prog: 3 Keyswitch: C1–C#1


Key switches:

C1 – var. 1

C#1 – var. 2

OB-3_stac-sus Prog: 4 Keyswitch: C1–D#1


Key switches:

C1 – staccato



D#1 – sustained

OB-3_stac-1+2+ts (EXS) Keyswitch: C1–C#1

The patch is equipped with a preconfigured Alternation toolset.

OB-3_0'3s-1+2+ts (EXS) Keyswitch: C1–C#1


OB-3_0'5s-1+2+ts (EXS) Keyswitch: C1–C#1


OB-3_stac-sus+ts (EXS) Keyswitch: C1–D#1



OB-3_stac_3Lay-mod Prog: 1


Modwheel:

0 – p

80 – mf

127 – f

OB-3_0'3s_3Lay-mod Prog: 2


Modwheel:

0 – p

80 – mf

127 – f

OB-3_0'5s_3Lay-mod Prog: 3


Modwheel:

0 – p

80 – mf

127 – f

OB-3L_sus_3Lay-mod Prog: 4





OB-3_dyn3_3s Prog: 2 Modwheel: cresc/dim


Modwheel:

0 – crescendo

127 – diminuendo

OB-3_dyn3_5s Prog: 3 Modwheel: cresc/dim


Modwheel:0 – crescendo

127 – diminuendo

OB-3_cre3_all Prog: 4 Keyswitch: C1–D1

Strong crescendo, 2, 3, and 5 sec. Use key switches to change instruments.

Key switches:

C1 – 2 sec.

C#1 – 3 sec.

D1 – 5 sec.

OB-3_dim3_all Prog: 5 Keyswitch: C1–D1

Strong diminuendo, 2, 3, and 5 sec. Use key switches to change instruments.

Key switches:

C1 – 2 sec.C#1 – 3 sec.

D1 – 5 sec.

OB-3_dyn3_all Prog: 6 Keyswitch: C1–D1 Modwheel: cresc/dim

Strong crescendo and diminuendo, 2, 3, and 5 sec. Use key switches to change instruments, the modwheel to switch between crescendo

and diminuendo.

Key switches:

C1 – 2 sec.

C#1 – 3 sec.

D1 – 5 sec.

Modwheel:

0 – crescendo

127 – diminuendo

OB-3_fp-sffz Prog: 7 Keyswitch: C1–D1

Fortepiano, sforzato, and sforzatissimo. Use key switches to change instruments.

Key switches:

C1 – fp

C#1 – sfz

D1 – sffz

OB-3_dyn3_all+ts (EXS) Keyswitch: C1–D1 Modwheel: cresc/dim


OB-3_fp-sffz+ts (EXS) Keyswitch: C1–D1


03 OB-3_TRILLS+CLUSTER

Half tone and whole tone trills with crescendo and diminuendo variations, and clusters.

Range: A#3–E6


OB-3L_tr-HS Prog: 1 Samples: 26







OB-3L_tr-HS+GS Prog: 1 Keyswitch: C1–C#1

Half and whole tone trills. Use key switches to change between half and whole tone trills.

Key switches:

C1 – half tone

C#1 – whole tone

OB-3L_tr-HS+GS+RS Prog: 2 Keyswitch: C1–C#1

Half and whole tone trills, with release samples. Use key switches to change between half and whole tone trills.

Key switches:

C1 – half tone

C#1 – whole tone

OB-3_tr-HS_dyn Prog: 3 Modwheel: cresc/dim

Half tone trills, crescendo and diminuendo. Use the modwheel to switch between crescendo and diminuendo.

Modwheel:

0 – crescendo

127 – diminuendo

OB-3_tr-GS_dyn Prog: 4 Modwheel: cresc/dim

Whole tone trills, crescendo and diminuendo. Use the modwheel to switch between crescendo and diminuendo.Modwheel:

0 – crescendo

127 – diminuendo


OB-3L_tr-HS_2Lay-mod Prog: 1

Half tone trills.

Modwheel:

0 – p

127 – f

OB-3L_tr-GS_2Lay-mod Prog: 2Whole tone trills.

Modwheel:

0 – p

127 – f

OB-3L_cluster_2Lay-mod Prog: 3 Range: A#3–G6

Clusters, layers blended with the modwheel.

Modwheel:

0 – p

127 – f


OB-3L_tr-HS_2Lay-vel Prog: 1

Half tone trills.

Velocity:

0 – p

127 – f

OB-3L_tr-GS_2Lay-vel Prog: 2



03 Clarinet ensemble (3)



OB-3_st-rep9_16-120_p Prog: 1 Samples: 135


OB-3_st-rep9_16-120_f Prog: 2 Samples: 135


OB-3_st-rep9_16-120_cre Prog: 4 Samples: 135


OB-3_st-rep9_16-120_dim Prog: 5 Samples: 135

16ths at 120 BPM, diminuendo.

OB-3_st-rep9_16-120 (EXS)


OB-3_st-rep9_16-120_dyn (EXS) Modwheel: cresc/dim

16ths at 120 BPM, crescendo and diminuendo. Use the modwheel to switch between crescendo and diminuendo.

Modwheel:

0 – crescendo

127 – diminuendo


OB-3_st-rep9_16-120_2Lay


Modwheel:

0 – p

127 – f


Description

The clarinet in Bb, a soprano woodwind instrument, is the main member of the big clarinet family. Due to its modulatorycapabilities it became the most important wind instrument in the Romantic orchestra in the 19th century along with the horn.

Since the classical period it has been customary to use two clarinets, the modern orchestra additionally uses a small

clarinet (or a bass clarinet).

Range and notation

The clarinet in Bb has a range from D3–Bb6 (to G6 in orchestral playing).

The written compass of all clarinets ranges from E3 to C7. The Bb clarinet sounds a major second lower than notated.


Rich, mellow, warm, gentle, melodic, vocal, round, lustrous, brilliant, bright, throaty, penetrating, dark, menacing, dramatic,

explosive, incisive, expressive, shrill, reedy, caressing, pale, lively.

The clarinet’s ability to play smooth and expressive legatos makes it the ideal instrument for the performance of evocative

cantilenas.

The notes within the compass from A4–F6 (clarinet register) are used most often. They sound brilliant, lustrous, bright and

compact. Due to their vocal character they have frequently been compared to the human soprano voice. They express a

range of emotions from tender sentiment to bursts of passion, from seductive sensuality to desperate longing, or from cat-

like cunning to demonic malevolence.

Lower notes have a dark, full, mellow and warm timbre, especially in piano. Higher notes than A6 are seldom required

because they no longer have the clarinet’s typically velvety sound.





KL-3L_sus+RC Prog: 4


KL-3L_sus+RS Prog: 1


KL-3_RS Prog: 2 Samples: 80

Release samples for KL-3L_sus+RS. 4 velocity layers.Mapping V1 V2 V3 V4

Dynamic: pp p mf f

Upper vel.: 55 88 108 127


KL-3_stac-1+2 Prog: 1 Keyswitch: C1–C#1


Key switches:

C1 – var. 1

C#1 – var. 2

KL-3_0'3s-1+2 Prog: 2 Keyswitch: C1–C#1

Portato, 0.3 sec., variations 1 and 2. Use key switches to change variations.Key switches:

C1 – var. 1

C#1 – var. 2

KL-3_0'5s-1+2 Prog: 3 Keyswitch: C1–C#1


Key switches:

C1 – var. 1

C#1 – var. 2

KL-3_stac-sus Prog: 4 Keyswitch: C1–D#1


Key switches:

C1 – staccatoC#1 – portato 0.3 sec.


D#1 – sustained

KL-3_stac-1+2+ts (EXS) Keyswitch: C1–C#1


KL-3_0'3s-1+2+ts (EXS) Keyswitch: C1–C#1

KL-3_0'5s-1+2+ts (EXS) Keyswitch: C1–C#1

KL-3_stac-sus+ts (EXS) Keyswitch: C1–D#1


KL-3_stac_4Lay-mod Prog: 1


Modwheel:

0 – p

56 – mp

96 – mf

127 – f

KL-3_0'3s_4Lay-mod Prog: 2






Modwheel:

0 – pp

56 – mp

96 – mf

127 – ff

KL-3_0'5s_4Lay-mod Prog: 3


Modwheel:

0 – pp

56 – mp

96 – mf

127 – f

KL-3L_sus_4Lay-mod Prog: 4


Modwheel:

0 – pp

56 – mp

96 – mf

127 – f


KL-3_stac_4Lay-vel Prog: 1


Velocity:

0 – p

56 – mp

96 – mf

127 – f

KL-3_0'3s_4Lay-vel Prog: 2


Velocity:0 – pp

56 – mp

96 – mf

127 – ff

KL-3_0'5s_4Lay-vel Prog: 3


Velocity:

0 – pp

56 – mp

96 – mf

127 – f

KL-3L_sus_4Lay-vel Prog: 4Sustained, 4 layers.

Velocity:

0 – pp

56 – mp

96 – mf

127 – f






KL-3L_tr-HS_2Lay-mod Prog: 1

Half tone trills.

Modwheel:

0 – p

127 – f

KL-3L_tr-GS_2Lay-mod Prog: 2Whole tone trills.

Modwheel:

0 – p

127 – f

KL-3L_cluster_2Lay-mod Prog: 3 Range: C3–G6

Clusters.

Modwheel:

0 – p

127 – f


For "vel" instruments, layers are blended through the keystroke velocity.

KL-3L_tr-HS_2Lay-vel Prog: 1

Half tone trills.

Velocity:

0 – p

127 – f

KL-3L_tr-GS_2Lay-vel Prog: 2

Whole tone trills.

Velocity:

0 – p

127 – f

KL-3L_cluster_2Lay-vel Prog: 3 Range: C3–G6

Clusters.

Velocity:

0 – p

127 – f

20 KL-3_PERF-LEGATO



PlayZone: C3–G6


KL-3_perf-leg_slow Prog: 1 Samples: 494

Mezzoforte legato, slow.

KL-3_perf-leg_fast Prog: 2

Mezzoforte legato, fast.

COMBINATIONS (EXS)

KL-3_perf-leg_slow+fast Modwheel: slow/fast



04 Bassoon ensemble (3)



Description

The bassoon is a woodwind instrument in the tenor and bass register. It is a double-reed instrument like the oboe. Due to

the U-shaped bend of the bassoon tube however it sounds mellow and velvety and lacks the penetrating and brilliant shawm-

like sound.

Modern woodwind sections usually use two bassoons.

Range and notation

The bassoon has a range from Bb1–Eb5 (forced up to F5).

It is a non-transposing instrument (actual pitches are notated). Notation is in bass clef, with tenor clef being used for the

higher registers. Notation in treble clef is rare.


Mellow, gentle, velvety, mild, sonorous, warm, smooth, picturesque, tense, active, penetrating, plaintive, long, light,

delicate, full, round, slender, narrow, sensitive.

The differences between the registers are very pronounced, which is one of the instrument’s most striking

characteristics: full and sonorous in the lower register, slender, elegant and melodious in the middle and narrow andcompressed in the upper register.

The bassoon’s low notes with their substantial, compact and unobtrusive sound are often used as a bass foundation.The notes of the middle register sound sonorous, rich, clear and stately. They possess a wide range of expression;they can be gently caressing or sharply austere, merry and bright or melancholy and despondent. They are equallywell suited for mysterious, demonic and eerie effects.

In all its registers, the notes of the bassoon – especially staccato notes – are well suited for the performance of humorous, comic effects and the depiction of musical caricatures.


The fascination of the bassoon’s sound lies in two qualities:On the one hand, it achieves a good blend with most of the other instruments in the orchestra, as does the horn; This

capability to blend with the sound of other instruments allows the bassoon to merge with the overall sound of the orchestra

as an unobtrusive bass voice.

On the other hand the bassoon’s sound is also clearly defined and therefore suitable for thematic and solo tasks.

Bassoon ensemble, 3 players: single notes, dynamics, clusters, and performance legato and repetitions.

01 FA-3_SINGLE-NOTES

Staccato, portato 0.3 and 0.5 sec., each with two variations, and sustained notes.Range: A#1–E5


FA-3_stac-1 Prog: 1 Samples: 123


Mapping V1 V2 V3

Dynamic: p mp f

Upper vel.: 55 108 127

FA-3_stac-2 Prog: 2 Samples: 123






FA-3_0'3s-1 Prog: 3 Samples: 123


Mapping V1 V2 V3

Dynamic: p mf f

Upper vel.: 55 108 127



Mapping V1 V2 V3

Dynamic: p mf f

Upper vel.: 55 108 127



Mapping V1 V2 V3

Dynamic: p mf f

Upper vel.: 55 108 127



Mapping V1 V2 V3

Dynamic: p mf f

Upper vel.: 55 108 127

FA-3L_sus Prog: 7 Samples: 123


Mapping V1 V2 V3

Dynamic: p mf ff

Upper vel.: 55 108 127


FA-3_stac+RC Prog: 1

FA-3_0'3s+RC Prog: 2

FA-3_0'5s+RC Prog: 3

FA-3L_sus+RC Prog: 4


FA-3L_sus+RS Prog: 1


FA-3_RS Prog: 2 Samples: 123

Release samples for FA-3L_sus+RS. 3 velocity layers.

Mapping V1 V2 V3

Dynamic: p mf ff

Upper vel.: 55 108 127


FA-3_stac-1+2 Prog: 1 Keyswitch: C1–C#1


Key switches:

C1 – var. 1

C#1 – var. 2

FA-3_0'3s-1+2 Prog: 2 Keyswitch: C1–C#1






Key switches:

C1 – var. 1

C#1 – var. 2

FA-3_0'5s-1+2 Prog: 3 Keyswitch: C1–C#1


Key switches:

C1 – var. 1

C#1 – var. 2

FA-3_stac-sus Prog: 4 Keyswitch: C1–D#1


Key switches:

C1 – staccato



D#1 – sustained

FA-3_stac-1+2+ts (EXS) Keyswitch: C1–C#1


FA-3_0'3s-1+2+ts (EXS) Keyswitch: C1–C#1

FA-3_0'5s-1+2+ts (EXS) Keyswitch: C1–C#1FA-3_stac-sus+ts (EXS) Keyswitch: C1–D#1


FA-3_stac_3Lay-mod Prog: 1


Modwheel:

0 – p

80 – mp

127 – f

FA-3_0'3s_3Lay-mod Prog: 2


Modwheel:

0 – p

80 – mf

127 – f

FA-3_0'5s_3Lay-mod Prog: 3


Modwheel:

0 – p

80 – mf

127 – f

FA-3L_sus_3Lay-mod Prog: 4


Modwheel:

0 – p

80 – mf

127 – ff


FA-3_stac_3Lay-vel Prog: 1






Velocity:

0 – p

80 – mp

127 – f

FA-3_0'3s_3Lay-vel Prog: 2


Velocity:

0 – p

80 – mf

127 – f

FA-3_0'5s_3Lay-vel Prog: 3


Velocity:

0 – p

80 – mf

127 – f

FA-3L_sus_3Lay-vel Prog: 4


Velocity:

0 – p

80 – mf

127 – ff

KEYSWITCH VELOCITY Bank: 6With keyswitch velocity instruments, use keyswitches to change the dynamic strength.

FA-3_stac_p-f Prog: 1 Keyswitch: C1–D1

Staccato, var. 1.

Key switches:

C1 – p

C#1 – mp

D1 – f

D#1 – f2

FA-3_0'3s_p-f Prog: 2 Keyswitch: C1–D1


Key switches:

C1 – p

C#1 – mf

D1 – f

D#1 – f2

FA-3_0'5s_p-f Prog: 3 Keyswitch: C1–D1


Key switches:

C1 – p

C#1 – mf

D1 – f

D#1 – f2

FA-3L_sus_p-f Prog: 4 Keyswitch: C1–D1

Sustained.

Key switches:

C1 – p

C#1 – mf

D1 – ff

D#1 – ff2






Modwheel:

0 – crescendo

127 – diminuendo

FA-3_cre3_all Prog: 4 Keyswitch: C1–D1

Strong crescendo, 2, 3, and 5 sec. Use key switches to change instruments.

Key switches:

C1 – 2 sec.

C#1 – 3 sec.

D1 – 5 sec.

FA-3_dim3_all Prog: 5 Keyswitch: C1–D1

Strong diminuendo, 2, 3, and 5 sec. Use key switches to change instruments.

Key switches:

C1 – 2 sec.

C#1 – 3 sec.

D1 – 5 sec.

FA-3_dyn3_all Prog: 6 Keyswitch: C1–D1 Modwheel: cresc/dim

Strong crescendo and diminuendo, 2, 3, and 5 sec. Use key switches to change instruments, the modwheel to switch between crescendo

and diminuendo.

Key switches:

C1 – 2 sec.

C#1 – 3 sec.

D1 – 5 sec.

Modwheel:

0 – crescendo

127 – diminuendo

FA-3_fp-sffz Prog: 7 Keyswitch: C1–D1

Fortepiano, sforzato, and sforzatissimo. Use key switches to change instruments.

Key switches:

C1 – fp

C#1 – sfz

D1 – sffz

FA-3_dyn3_all+ts (EXS) Keyswitch: C1–D1 Modwheel: cresc/dim


FA-3_fp-sffz+ts (EXS) Keyswitch: C1–D1

03 FA-3_CLUSTER

Three-note clusters with several programming variations.

Range: A#1–D5

BASIC INSTRUMENTS Bank: 0FA-3L_cluster Prog: 1 Samples: 38

Three-note clusters, sustained. 2 velocity layers.

Mapping V1 V2

Dynamic: p f

Upper vel.: 88 127


FA-3L_cluster+RC Prog: 1






FA-3L_cluster+RS Prog: 1

Clusters, with release samples.

FA-3_RS_cluster Prog: 2 Samples: 38


Mapping V1 V2

Dynamic: p fUpper vel.: 88 127


FA-3L_cluster_2Lay-mod Prog: 1

Clusters.

Modwheel:

0 – p

127 – f


For "vel" instruments, layers are blended through the keystroke velocity.FA-3L_cluster_2Lay-vel Prog: 1

Clusters.

Velocity:

0 – p

127 – f

20 FA-3_PERF-LEGATO



PlayZone: A#1–E5


FA-3_perf-leg_slow Prog: 1 Samples: 515

Mezzoforte legato, slow.

FA-3_perf-leg_fast Prog: 2

Mezzoforte legato, fast.

COMBINATIONS (EXS)

FA-3_perf-leg_slow+fast Modwheel: slow/fast

Mezzoforte legato, slow and fast. Use the modwheel to change variation.

Modwheel:0 – slow

127 – fast

21 FA-3_PERF-REP_leg_4-60

Legato repetitions with 5 repetition layers, 4ths at 55 BPM, piano and forte; and 50 BPM, crescendo and diminuendo.

Performance Tool: Repetition Mode

PlayZone: A#1–E5 Repetitions: 5 First Keyswitch Delay: 60ms

he2 woodwind ensembles manual-long

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