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Discover everything Scribd has to offer, including books and audiobooks from major publishers. Start Free Trial Cancel anytime. Report this Document Download Now save Save Broadway Big Band - Kontakt Edition - Manual.pdf For Later 0 ratings 0 found this document useful (0 votes) 254 views 40 pages Broadway Big Band - Kontakt Edition - Manual.pdf Uploaded by faonfaon Description: Full description save Save Broadway Big Band - Kontakt Edition - Manual.pdf For Later 0 0 found this document useful, Mark this document as useful 0 0 found this document not useful, Mark this document as not useful Embed Share Print Download Now Jump to Page You are on page 1 of 40 Search inside document Browse Books Site Directory Site Language: English Change Language English Change Language. Discover everything Scribd has to offer, including books and audiobooks from major publishers. Start Free Trial Cancel anytime. Thanks in part to the efforts of latter-day crooners such as Harry Connick Jr, Robbie Williams and the mighty Bjork, big band and swing are far from dead in the water. Amazingly, a sound popularised by Duke Ellington and Glenn Miller in the early 1940s can still fill our living rooms on Saturday nights, as finger-snapping 12-year old boys in tuxedos attempt to pass themselves off as Sammy Davis Jr (or should that be Sammy Davis Jr Jr?) on TV talent shows. If that spectacle fails to fill your heart with joy, take comfort in the knowledge that at the hipper end of the style spectrum, the brilliant arrangements of big band composers and arrangers Bill Finegan, Quincy Jones and the late Gil Evans continue to fascinate jazz fans and music students. The timbres are utterly different: stately-sounding, formal French horns on the one hand, slinky saxophones on the other.
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Big band brass uses a variety of mutes rarely featured in classical pieces, and the playing styles are miles apart — orchestral brass players use little or no vibrato and struggle to produce the uninhibited growls, screams and wails which jazz horn players make, with or without their instruments. There's no getting away from it: for a truly convincing big band sound, you need authentic big band samples. Enter US company Fable Sounds, intent on bringing this timeless 20th-century timbre to your hard drives via their 100GB Broadway Big Band instrument. The multi-talented Mr Shrem supervised the recording, editing and mapping of BBB's countless samples. Software engineer Itzkovich developed the Broadway Performer control system (more of which later), performed BBB's 1st tenor saxophone samples and was also heavily involved in the sample programming. Both were classically trained from an early age — the work ethic is plain to see, but the endless hours spent practising scales in their youth must seem like a stroll in the park compared to the job of editing 100GB of samples. The instrument works in stand-alone form and as a VST, DXi, AU and Rewire plug-in on Windows XP or Mac OS X (at the time of writing, Intel Macs were not yet supported). Three licence codes are issued (one each for brass, reeds and rhythm section) and these must be activated to download the necessary Syncrosoft licenses onto BBB's USB dongle. That procedure went smoothly for me. BBB ships with its own custom Halion Player which plays only the BBB samples; the Halion sound bank (.hsb) files can be loaded into the full version of Halion 3, but not into any third-party player. Although instruments can't be edited by users, you can at least delete unwanted ones to free up disk space. Included in the package is a separate stand-alone MIDI-processing application called Broadway Performer, which must be activated in order for the BBB Halion player to play its sounds.
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The player is then fed control information by BP and reacts accordingly. If you like, you can open BP's 'virtual keyswitch monitor', a purely passive window which shows the currently active articulation of a selected instrument, but you don't have to do any programming — BP does its control thing behind the scenes, leaving you free to play. There's only one slight wrinkle: to run BBB and Broadway Performer on the same computer requires a virtual MIDI port. BP creates one under OS X but can't do so in Windows, so PC users will need to download the Maple Virtual MIDI cable ( www.marblesounds.com ). I've successfully used this freeware in the past; it runs invisibly in the background, requires no setting up and worked perfectly with BBB on my PC at the first attempt. No riffs or melodic phrases have been performed, but the large number of stylistic variations makes it a breeze to program your own. To facilitate on-the-fly articulation changes, each instrument loads with all its playing styles in place; this makes for longer loading times, but rooting through menus to assemble all the individual articulations (as you have to do with a sample library) would take longer still. The review copy's Halion Player added to the loading times by doing a 10-second scanning routine before showing the instrument list. The makers assure me this is not normal, but their suggested fixes made no difference. Crescendos and diminuendos can be simulated using the mod wheel, which (with the help of the performer software) creates subtle crossfades between the dynamic layers, while the starting dynamic remains dependent on note velocity. It's a nice idea, but in my copy it didn't work, due to a bug. Moving-note articulations include grace notes, semitone 'smear' bends and short upwards chromatic runs, all very useful. Thanks to some clever programming, growls can be turned on and off in mid-note with a keyswitch (see the 'Keyswitching in Broadway Big Band' box).
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Another nice touch is that if you select a fall while playing a growl note, the fall samples will also be played with the growl tone. On several occasions my sensitive pitch radar warned me that the intonation of the trumpet's sustains wasn't perfect; some notes start slightly out of tune and settle into pitch over a couple of seconds. This means that sustained trumpet chords can sound less then sweet, but there's nothing that would frighten the horses. Played slides spanning up to a major ninth in both directions can be found amongst the trombone's legato samples, and may be instantly turned on mid-melody at the touch of a keyswitch. There are several mute options for trumpet and trombone: the plunger mute's 'wah' sound can be varied with keyswitches, and on some trumpet plunger-mute samples you can alternate between closed and semi-open mute positions, which adds to the droll, voice-like effect. The trumpet's cup-mute samples have an appealing, lo-fi vintage flavour and the thin, cutting Harmon mute is evocative of Miles Davis and Birth Of The Cool. On the uncool side, the trombone bucket-mute samples were played with an over-the-top comic vibrato reminiscent of the musical entertainer George Chisholm, a reminder of the humorous side of big band brass. As far as I know, Fable Sounds are the only company apart from Vienna Symphonic Library to use this highly labour-intensive, interval-specific sampling technique, and it works a treat: the soprano sounds smooth and lyrical, and as long as you remember not to lift your fingers between notes you'll hear a convincing legato transition every time. My only minor criticism is that the soprano's legatos seem to be played at one dynamic, but its tone (which strikes a nice balance between breathiness and stridency) is very attractive nonetheless. Instruments must be selected here first, then replicated in the BBB Halion player.
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With four dynamic layers powering its legatos, the alto sax ought to be even more playable than the soprano, but unfortunately that's not the case. The playing and programming lack consistency; the nature of the mezzo piano layer's attack is too different from that of the pianissimo samples, and stepping up to the forte dynamic on some notes produces an alarming jump in level. Although it's possible to play a great-sounding legato melody on the instrument, I found its dynamics too unpredictably volatile — so a bit of re-programming by the makers would help. A second alto player contributes some nice progressive-vibrato sustains and falls, played with a generally softer tone than the first alto. Blistering fast runs sounded very realistic, and leapt out of the speakers as if possessed by the spirit of an avenging jazz warrior. I also found some nice overblown legato notes not listed in the manual. A second instrument delivers some heavy-vibrato samples which sound funny on first hearing but reveal a rather eerie, ululating soft layer when played quietly. Both tenors deliver lusty falls and doits. If played in fifths, the baritone sax's upward semitone grace notes can do a passable imitation of the Pink Panther theme — well, it will keep your granny amused. The instrument's legatos are available in vibrato and non-vibrato flavours, which helps it deliver tasty melody lines. Deliveries such as double and triple staccatos, three-note chromatic runs and various gracings really bring this bari to life. Taken as a whole, the two tenors (that's ?20 to you and me) and baritone sound good and strong, and their robust sustains, tough sforzandos and jabbing staccatissimos will add a lot of energy and drive to the low and mid range of your horn arrangements. The instrument's legatos handle Benny Goodman-style quicksilver runs with aplomb.
The Broadway Performer does a great job handling the clarinet's trills; if you hold down a note and play a rapidly repeated second pitch, the program creates a highly realistic trill in which the held note conforms to the dynamics of the trill note, which means you can play crescendo trills. This expressive, animated musical effect holds good for all upward and downward intervals up to a major ninth. For those new to the concept, keyswitches are used to switch instantly between a sampled instrument's performance styles in much the same way that program changes call up different patches on a synth. A keyswitch is a key outside the playing range of the instrument (usually found at the bottom end of the keyboard) which changes the currently active patch when pressed. A keyswitch-triggered sound change usually endures after you release the key, but many of BBB's keyswitches are only active while the keyswitch key is held down. When you release it, the sound immediately reverts to its previous state. This is very useful for turning growls, falls and the like on and off on the fly. At first I found this system rather puzzling, but with the help of the manual I began to learn the keyswitches for certain performance styles and was relieved to discover that these follow the same pattern on all keyswitchable instruments. With such a large variety of styles available, using the conventional 'one switch per articulation' system would have seen the keyswitches sprawling over a three-octave span; that would have forced players to use large master keyboards to reach them, so for all its relative complexity, the option and shift keys device seems a sensible solution. All its samples are played pizzicato and as you'd expect, they work supremely well for the jazz walking-bass style, combining a nice powerful thump on the front of the note with a decent amount of sustain.
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Vibrato sustains with a slight note bend provide a nice lyrical melodic option, semitone bends add to the expression, and the ever-popular 'Bartok' snap pizzicato style is thrown in too. Best of the bunch are the 'Walk On The Wild Side'-style octave slides, which I immediately earmarked for future use. This optional passive window shows the currently active articulation of a selected instrument. No programming is required: you just select the instrument in the bottom right-hand slot and it does the rest. In the drum department, a pleasantly open-sounding Pearl kit played with brushes and sticks has been nicely recorded in stereo, and its plethora of hits can be woven together into very realistic-sounding performances. The only slight problem is that some drum-kit samples seem to speak late, possibly because their front end isn't trimmed tightly enough. An extensive array of Latin percussion includes some very nice cowbells and woodblocks, as well as bongo, conga and timbalito (small timbale) drums offering a large variety of hand, stick and shell hits, rolls and skin rubs, distributed seemingly at random over the keyboard. In the review copy, the percussion's global 'play-till-sample-end' programming was a handicap — once a long roll started playing, there was no way of stopping it. BBB's makers intend to fix that in an update by providing monophonic keygroups in which a roll can be cut off by a final hit. The rubber mallets give a rounder, more marimba-like tone, though in the top octave the notes degenerate into a wooden thump. Broadway Big Band's instrumentation is completed by the pleasant, mellow nylon-string sound of a ukulele (hard to find in sampled form) and the cheerful plunk of a banjo. I would guess the two are included to help recreate the sound of a small pre-war dance band. Unfortunately, both of these stringed instruments play very late, due (I suspect) to the loose sample-trimming noted above.
In this case I found that the resulting latency rendered the instruments virtually unplayable — which is a shame, as their samples are rather attractive. Broadway Big Band helps keep the tradition alive and kicking by providing its authentic musical timbres in one highly versatile, well thought-out package. It's a big, ambitious project, and despite its relatively high price tag a few rough edges were evident in the review copy. However, the makers have made it clear they are committed to fixing the faults by the time you read this. Thanks to them, samplists can now experience at first hand the smooth, explosive, subtle, brash and occasionally comical timbres of a Broadway big band — and I don't mean Tooting Broadway! Most offer four or five microphone choices, with six used on the trumpet. (This accounts for BBB's 100GB size, since each microphone creates its own unique set of samples.) With the exception of the ambient-sounding Neumann U87 room mic placed high above the instrument, the mic positioning is generally fairly close — and combining close and room mics produces good results, with no phasing artifacts. As some instruments use a very large number of samples, multi-mic setups might put strain on your RAM. Happily, the Halion Player can help with that, as its RAM-save function 'learns' which samples are used in an arrangement and discards the rest, reducing instruments to a more manageable size. Pros Contains authentic big band instruments, articulations and mutes not found in orchestral libraries. True legato samples produce smooth, convincing melody lines. Flexible keyswitching options are an aid to expression. Multiple microphones provide control over timbre and room ambience. Cons Having to open two separate applications to play the instruments is a little clunky. No flute, bass trombone or tuba (not essential, but can be useful in big band arrangements). The review copy's Halion Player made a meal of loading sounds. Pricey.
Its technical subtleties would be a challenge to a virtual instrument newbie, but as the stunning on-line demos prove, it can sound amazing in the hands of a skilful programmer. Once you've mastered its keyswitching techniques, the musical possibilities are endless. True legato samples produce smooth, convincing melody lines. Flexible keyswitching options are an aid to expression. Multiple microphones provide control over timbre and room ambience.No flute, bass trombone or tuba (not essential, but can be useful in big band arrangements). Its technical subtleties would be a challenge to a virtual instrument newbie, but as the stunning on-line demos prove, it can sound amazing in the hands of a skilful programmer. Once you've mastered its keyswitching techniques, the musical possibilities are endless.August 2020 Everything You Wanted To Know About Studio Headphones. 2 months 3 hours ago. Top 10 Boring Things That Are Really Important In The Studio 2 months 3 weeks ago. MP3s: why do some play in my car and some not. Live music returns (UK). How's this going to work. Help finding USB audio interface with digital out contr. The contents of this article are subject to worldwide copyright protection and reproduction in whole or part, whether mechanical or electronic, is expressly forbidden without the prior written consent of the Publishers. Great care has been taken to ensure accuracy in the preparation of this article but neither Sound On Sound Limited nor the publishers can be held responsible for its contents. The views expressed are those of the contributors and not necessarily those of the publishers. Continue browsing to accept. See our Privacy Policy for more information. I feel like I’m playing a live instrument. It makes it more fun. I feel less like I’m working and more like I’m making music. It’s just seamless. However these guys are doing it, it’s different than anything else that I’ve heard and it’s definitely different than anything else I have played with.
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” You can finally play a deeply sampled virtual instrument with the same creative freedom and fluidity as the musician playing the actual instrument would. See the features section for details. Using RTO you can play an entire section on the keyboard, and the notes you play are orchestrated in real time and distributed to the various instruments in the RTO multi, based on orchestration schemes that you can create yourself. This is an extremely powerful system which is extremely easy to use. Great for live shows, as well as tracking under tight deadlines. It also offers articulation presets which can replace the built-in key-switching with alternative midi triggers such as foot-switches, freeing your left hand for playing notes rather than key-switches. This means that even with multiple instances of just one instrument, you can still get a realistic section of multiple instruments playing in unison. The feature is not some kind of a doubling effect, but rather it uses different samples, and performs slight adjustments to make sure each instance of the instrument sounds a little different from the other. The results are very realistic. The feature also includes “Humanize” and “Detune” knobs for further control over the section sound. The new Notation mode also enables integration with Cubase Expression maps. This was not previously possible due to the unique articulation switching system in Broadway Big Band. The new Notation Mode uses an alternative system of key-switching that is more in line with the way notation programs operate. (full documentation in the user manual). To help overcome this, we’ve added a new knob to control the velocity curve, which helps adjusting the responsiveness of the Broadway Big Band instruments to various MIDI keyboards. The new velocity curve control feature can also be MIDI automated to make changes within a song as needed.
Multiple orchestration schemes are possible within a single RTO multi, switchable in real-time via mouse click or user defined midi triggers. It makes it more fun. I feel less like I’m working and more like I’m making music. It’s just seamless. However these guys are doing it, it’s different than anything else that I’ve heard and it’s definitely different than anything else I have played with.”. You must have JavaScript enabled in your browser to utilize the functionality of this website. Log In My Account Checkout It has been used by top industry professionals on major albums, live shows, and high profile film, television, and theater projects. You can finally play a deeply sampled virtual instrument with the same creative freedom and fluidity as the musician playing the actual instrument would. MULTIPLE MICROPHONE SETUPS Sonic flexibility that would make the Broadway Big Band instruments easily fit right into the mix, whatever the genre or style of production may be. POWERFUL AND SIMPLE Broadway Big Band offers incredibly powerful yet simple to learn and use features, not offered by any other virtual instruments currently on the market. It’s the real deal from top to bottom. NEW FEATURES IN VERSION 2.0 REAL-TIME ORCHESTRATOR (RTO) A groundbreaking feature enabling polyphonic, poly-rhythmic legato across a mixed section of instruments. Using RTO you can play an entire section on the keyboard, and the notes you play are orchestrated in real time and distributed to the various instruments in the RTO multi, based on orchestration schemes that you can create yourself. This is an extremely powerful system which is extremely easy to use. Great for live shows, as well as tracking under tight deadlines. It also offers articulation presets which can replace the built-in key-switching with alternative midi triggers such as foot-switches, freeing your left hand for playing notes rather than key-switches.
UNISON SECTION From now on, you can use any of the Broadway Big Band wind instruments multiple times in the arrangement or in a multi, even when playing unison, creating a realistic section of multiple instruments. This means that even with multiple instances of just one instrument, you can still get a realistic section of multiple instruments playing in unison. The feature is not some kind of a doubling effect, but rather it uses different samples, and performs slight adjustments to make sure each instance of the instrument sounds a little different from the other. The results are very realistic. The feature also includes “Humanize” and “Detune” knobs for further control over the section sound. The new Notation mode also enables integration with Cubase Expression maps. This was not previously possible due to the unique articulation switching system in Broadway Big Band. The new Notation Mode uses an alternative system of key-switching that is more in line with the way notation programs operate. (full documentation in the user manual). VELOCITY CURVE CONTROL Due to the extended dynamic range of the wind instruments included in Broadway Big Band, it is sometimes difficult to keep dynamics under control when using a MIDI keyboard’s velocity. To help overcome this, we’ve added a new knob to control the velocity curve, which helps adjusting the responsiveness of the Broadway Big Band instruments to various MIDI keyboards. The new velocity curve control feature can also be MIDI automated to make changes within a song as needed. VARIOUS IMPROVEMENTS IN PROGRAMMING AND UI Improved consistency of levels and envelope programming and a new and improved user interface. Mac OS X (64-bit only) Mac OS X 10.10, 10.11 or 10.
12 (latest update) or newer Intel Core 2 Duo (minimum) 4 GB RAM (minimum) 88 Keys MIDI keyboard (recommended) 100 GB of disk space (210 GB of space required during installation) Supports: Stand-alone, VST, AU, AAX An internet connection is required for activation. Once activated, it can be used offline. Windows. Once activated, it can be used offline. You can simply remove the item from your cart. You have no obligation to purchase the product once you know the price. You can simply remove the item from your cart. Contacts About Us Customer Service Privacy Policy. All Rights Reserved. All the usual Kontakt features are available. Some names you might want to check out are Broadway Big Band. Fable Sounds Broadway Big Band KONTAKT DVDR D07 DYNAMiCS pdf. Honeywell Thermostat Rth230b User Manual pdf; Food Protein Analysis pdf; Computational Methods for Reinforced Concrete Stru pdf; Documento Di Valutazione Dei. Garritan Jazz and Big Band; Performance tips. Calendar; Translate; Books; Shopping; Blogger; Photos; Videos. All the usual Kontakt features are available. Some names you might want to check out are Broadway Big Band. Fable Sounds Broadway Big Band KONTAKT DVDR D07 DYNAMiCS pdf. Honeywell Thermostat Rth230b User Manual pdf; Food Protein Analysis pdf; Computational Methods for Reinforced Concrete Stru pdf; Documento Di Valutazione Dei. Garritan Jazz and Big Band; Performance tips. Calendar; Translate; Books; Shopping; Blogger; Photos; Videos. Torrent anonymously with torrshield encrypted vpn pay with bitcoin. PLANS; SUPPORT; CONTROL PANEL; SIGN UP; SIGN UP; Total Privacy. For the life of me I CANNOT get the Broadway Lites instrument VST to respond to articulations entered into Dorico in Write mode.
I can confirm that I am working with a single stave, I have selected Kontakt as the playback VST, associated it in Play mode with the single stave (into which I have entered a simple C major scale with alternate notes accented) and yet all I get is basic non-articulated playback. I have setup an expression map which I have associated with the selected instrument (the Broadway Lites Legato Trumpet) via the end-point setup and it makes no difference. I have done a search on the forum for similar questions and the only question I could find with regards to the Fable Sounds Broadways Lites instrument VST is essentially unanswered. Thank you in advance for all help proffered. Whether you could implement it in Dorico with playing techniques that have a duration, and different actions at the start and end, is an interesting question, but not answerable without a demo version to play with.I appreciate your effort, but the fact is I have the product, the manual etc.What I am really after is a yay or nay answer from Dorico as to whether they support this 3rd party plugin, or an answer from fellow Dorico users who have managed to get a Fable Sounds product to work. Since Dorico doesn't offer in house (1st party) VST plugins of this quality (other than those from their parent company, Steinberg) then I expect Dorico to go out of its way to answer my question. Sure, to expect Dorico to support every 3rd party plugin out there is to expect exemplary work from the Dorico team, but this is a VST instrument that is important to my work and I need to know (for business purposes) if it will or will not work with Dorico. I'm not blaming Dorico if it doesn't, I just need to know for the purposes of my work. Dorico is compatible with all VST 3 instruments and most VST 3 effects (not MIDI effects), and VST 2.x plug-ins can be used if you manually whitelist them.
Dorico provides reasonably comprehensive features for mapping the articulations, playing techniques and patches of any VST instrument via both expression maps and percussion maps. We have limited internal resources and many competing demands for our time. Unlike Sibelius and Finale, Dorico does in fact keep keyswitches depressed for the duration of the technique, so if Fablesounds's products require the keyswitches to be held down, that is no problem. If you're having problems triggering the correct articulations in the Fablesounds library, you are configuring your expression map incorrectly. Things to check: make sure that you're using a consistent approach to octave numbering (by default Dorico calls middle C, MIDI note 60, C4, but other software differs, so check the documentation provided with Broadway Lites to make sure you know which octave the keyswitches should be in); and make sure you are setting up mutual exclusion groups for any playing techniques you add in the expression map (so that Dorico knows that if you switch from one technique to another, it should also remove the previous technique rather than add it to the current ones). We have limited internal resources and many competing demands for our time. I appreciate your position, but it does leave me feeling somewhat like I have taken a bit of a gamble on Dorico as far as my sound library is concerned. Given the issues I had getting the NI Kontakt player to work it would seem that not all white-listed VST's are created equal. I immediately assumed that these numbers referred to either program or control changes. Thank you for your time. I confess that I have not used MIDI note numbers in a VERY long time so this was not the solution that immediately sprung to mind. Well, at least not to my mind I should at least now be able to get on with the job of mapping the various articulations using the expression maps feature in Dorico.