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User’s Guide to

Garritan Jazz & Big Band


Copyright © 2007 Garritan, Corp. All rights reserved

This guide written by: Gary Garritan, Chuck Israels, Gary


Lindsay and Tom Hopkins
Produced by: Gary Garritan & Tom Hopkins
Director of Programming: Tom Hopkins
Software Development: Jeff Hurchalla
Graphic Design: Michael Sandberg&James Mireau
Cover Design: James Mireau
Manual Layout: Adina Cucicov
Director of Editing: Jeannot Welter

The information in this document is subject to change without notice and does not represent
a commitment on the part of Garritan Corporation or on the part of Native Instruments
GmBH. No part of this publication may be copied, reproduced or otherwise transmitted or
recorded, for any purpose, without prior written permission by Garritan Corporation.

Use of the Garritan Jazz & Big Band™ library and the contents herein are subject to the terms
and conditions of the license agreement distributed with the library. You should carefully read
the license agreement before using this product. The sounds presented in Garritan Jazz & Big
Band™ are protected by copyright and cannot be distributed, whether modified or unmodified.
This Guide to Garritan Jazz and Big Band library and articulation lists contained herein are also
covered by copyright. Garritan Jazz & Big Band is a trademark of Garritan Corp. KONTAKT™
is a trademark of Native Instruments GmbH.The information contained herein may change
without notice and does not represent a commitment on the part of Garritan Corporation.

Garritan Jazz & Big Band


Garritan, Corp.
P.O. Box 400, Orcas, WA 98280 USA
Tel: (360) 376-5766
e-mail: gary@garritan.com

Visit us on the World Wide Web at: www.garritan.com or www.jazz-bigband.com

Printed in the United States of America.


Garritan Jazz & Big Band is a trademark of Garritan.com, registration applied for.
KONTAKT™ is a trademark of Native Instruments GmbH.
Table of Contents
Garritan Jazz & Big Band At-a-Glance 5
Welcome to Garritan Jazz & Big Band 7
License Agreement 8
What You Can Do: 8
What You Cannot Do: 8
What This Package Includes 9
System Requirements & Recommendations: 9
Installation Instructions 10
VST, DXi, Audio Units and RTAS Plug-in Installation 10
Updates 11
Product Authorization 11
Installation and Start 12
Launching Service Center: 12
Online operation 12
Service Center Update 13
NI Login 13
Creating Your NI user account 14
Online Activation Assistant 14
Offline Activation Assistant 15
NI Service Center Options 15
Support Information 16
The World of Sampling and Software Instruments 17
How to Use Jazz and Big Band 17
Using Kontakt2 Player as a Standalone Application 17
Basic Setup Information for Stand-alone Mode: 17
Using Garritan Jazz and Big Band in a Specific Sequencer: 18
Using Garritan Jazz and Big Band with a Notation Program 19
How the Kontakt2 Player Works 20
The Basic Interface 20
What is Jazz? 30
The Growth of Jazz 31
Jazz Arranging Techniques 34
Kinds of Jazz 35
Playing the Jazz & Big Band Instruments 36
Basic Controls for All Wind Instruments: 36
The Basic Real-Time Control System: 36
Other Controls for All Wind Instruments 39
Special Features in Saxophones: 41
Special Features in Both Trumpets and Trombones: 42
Additional Features in Just the Trumpets: 43
Controls for the Rhythm Section 44
The Basic Instrument Interface 49
Instrument Information Window 49
General Controllers 49
Instrument Specific Controller Knobs 50
The Woodwind Instruments 51
The Brass Instruments 52
The Rhythm Section 53
Piano and Guitar 53
Acoustic Bass 53
Drum Kit 53
Notation Version of Jazz & Big Band 54
Putting It All Together for a Real-Time Performance 54
Building Sections from Individual Instruments 55
Directory of Instruments in Garritan Jazz & Big Band 55
The Rythm Section Instruments 56
The Woodwind Instruments 59
The Brass Instruments 62
Multis 68
The Garritan Community 69
Getting Help 70
Acknowledgements 71
Appendix A: Quick MIDI Controller Reference Guide 72
Appendix B: Drum Maps 74
Appendix C: Percussion Maps 76

User’s Guide to
Garritan Jazz & Big Band

Garritan Jazz & Big Band At-a-Glance


Thank you for choosing Garritan Jazz & Big Band. The following list presents some of the outstanding features
of the Garritan Jazz and Big Band library:

The First Jazz and Big Band Sample Library – Garritan Jazz & Big Band is the first library of its
kind. As of this writing, no sampled library of Jazz and Big Band has existed.
A Comprehensive Jazz and Big Band collection – Garritan Jazz & Big Band puts at your fingertips
a complete sample library of Jazz and Big Band instruments along with an integrated Native
Instrument’s Kontakt™2 sample player. It provides all the major instruments you need construct
your jazz and big band arrangements.
A High-Quality Jazz Instrument collection – The jazz and big band library contains over 50
instruments including sixteen different saxophones, brass instruments with various mutes, a Steinway®
piano, guitars, acoustic and electric basses, an electric piano, drum kits and other instruments.
No Sampler Required – The entire Jazz & Big Band library is integrated with a Native Instrument
Kontakt2™ Player. You will not need to purchase a separate sampler.
Ensemble Maker – Garritan Jazz & Big Band provides the instruments you need to build your
own ensembles. You can build your jazz ensembles and big bands one instrument at a time exactly
as you wish. This ensemble making is a key to realistic performances. It lets you create solos, duos,
jazz trios, quartets, jazz ensembles, or a full big band.
Intuitive Controls – The controls in Garritan Jazz & Big Band are streamlined and standardized,
so you can quickly become familiar with the library. Advanced functions, such as tongue/slur,
falloffs, doits, growls and automatic variability are easily accessible for realistic results with
minimal effort.
Notation Integration to Play from the Score – You can create great-sounding jazz and big band
sounds directly from the score of major notation programs. Check your notation program for
integrated support for the Garritan Jazz & Big Band library.
Universal Format – No worries about platform or proprietary formats. Garritan Jazz & Big Band
will work on all popular formats, both Mac and PC, either as a standalone program or as a plug-in
(supporting VST, DXi, RTAS, and OS X AudioUnits). Garritan Jazz & Big Band instruments
will also load into KONTAKT Native Instruments’ flagship sampler (v.2.2 or higher). The entire
library can be loaded on a single PC or laptop with sufficient RAM.
Suited for Every Musician – Professional composers can use this collection for quick big band
charts and capturing creative ideas. Hobbyists can use it for adding jazz instrumentation to their
tracks. Beginners or students can use it for scoring projects and studying jazz. The instruments in
this collection can also be used to supplement orchestral sounds.

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Welcome to Garritan Jazz & Big Band


Nothing quite captures the experience of listening to jazz. There is something unique and alive about
the interaction of the players, the spontaneous improvisation, and the varied styles. Our aims are to
give musicians the tools to play jazz and big band music, to provide information about jazz and big
band music to as many people as possible, and to promote and encourage jazz and big band music
everywhere.

Garritan Jazz & Big Band is the first library of its kind. As of this writing, no sampled library of Jazz
and Big Band has existed. We wanted to do something special and produce a new kind of library.
Jazz instruments are very expressive, individualistic and the most difficult to accurately sample. New
computing and sampling technology now makes this possible.

I would like to take this opportunity to thank all of the individuals who contributed to this project
and made it possible to provide these sounds and tools for musicians. I would particularly like to thank
Tom Hopkins who has recorded, performed and programmed much of this library. Tom brings over
thirty five years of professional jazz experience and this product certainly demonstrates Tom’s mastery
and musicality.

Garritan Jazz and Big Band is a dynamic library that will evolve and grow. Please check our website at
www.garritan.com for the latest up-to-date information downloads, updates, FAQs, troubleshooting,
helpful hints and tutorials. It is my hope that this Jazz and Big Band collection will enable you to make
great music that enriches your life.

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License Agreement
Please read the terms of the following software licensing agreement before using this sample collection. By
installing and loading this product you acknowledge that you have read this license agreement, understand
the agreement and agree to its terms and conditions. If you do not agree to these terms, do not install or use
the sounds contained herein. This is the complete agreement between you and Garritan Corporation that
supersedes any other representations or prior agreements, whether oral or in writing.

An important thing to understand is that YOU ARE OBTAINING A LICENSE FOR YOUR USE ONLY
– THEY DO NOT BELONG TO YOU. The sounds, samples and programming in the Garritan Jazz and Big
Band library remain the sole property of Garritan Corporation and are licensed (not sold) to you.

WHAT YOU CAN DO:


You can use these sounds in music productions, public performances, and other reasonable musical purposes
within musical compositions. You can use these sounds in your own musical compositions as much as you like
without any need to pay Garritan Corporation or obtain further permission. If you do use these sounds, we ask
that in any written materials or credits accompanying your music that utilizes material from Garritan Jazz and
Big Band collection (CD booklet, film credits, etc), that you include the following courtesy credits: “samples
used in this recording are from Garritan Jazz and Big Band™, or a similar credit where practicable.

WHAT YOU CANNOT DO:


The enclosed sounds cannot be re-used in any other commercial sample library or any competitive product.
You are absolutely forbidden to duplicate, copy, distribute, transfer, upload or download, trade, loan, reissue or
resell this library or any of the contents in any way to anyone. You cannot redistribute them through an archive,
nor a collection, nor through the Internet, nor binaries groups, nor newsgroup, nor any type of removable
media nor through a network. The sounds and samples contained herein cannot be edited, modified, digitally
altered, re-synthesized or manipulated without direct written consent of Garritan Corporation.

A right to use Garritan Jazz and Big Band is granted to the original end-user only, and this license is not
transferable unless there is written consent of Native Instruments GmB and Garritan Corporation and payment
of an additional fee. The sounds of Garritan Jazz and Big Band will only work with Native Instruments Kontakt
and the bundled Kontakt Player and will not work with any other sampler. Licensor will not be responsible if
the content of this disc does not fit the particular purpose of the Licensee. Please make sure before ordering
this item that it meets your needs. Information contained herein is subject to change without notice and does
not represent a commitment on the part of Garritan Corporation. The sounds are licensed “as is” without
warranties of any kind. Garritan Corporation, nor any agent or distributor can be held responsible for any
direct or indirect or consequential loss arising from the use of this product in whatever form.

The Garritan Jazz and Big Band library may not be returned for any reason other than manufacturing
defects. The terms of this license shall be construed in accordance with the substantive laws of the
United States of America and/or the State of New York. U.S.A. All product and company names are ™
or ® trademarks of their respective owners. Garritan Corporation is not responsible if the Kontakt Player
or any of the third-party programs do not fit a particular purpose of the Licensee, nor if there are any
direct, indirect, or consequential losses arising from the use of them. We do not offer support and are
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not responsible for supporting these products. Our support is limited to the samples themselves. All
support with respect to the Kontakt Player must be directed to Native Instruments. The user agrees to
read the manual before seeking tech support.

The RECOMMENDED REQUIREMENTS for Kontakt2 Player & Sound Library is 2.8 GB of free hard
disk space, DVD Drive, Windows XP (Pentium 4 /Athlon 2 GHz or better is recommended), Mac OS 10.4 or
higher and a G5 or Mac Intel is recommended. The Mod Wheel on your keyboard controls volume so make
sure to move it up to an audible level. If you do not have a Mod Wheel, then the ability to assign the controller
within your notation program or sequencer or to an external controller is required. To play the entire orchestra,
we recommend a minimum of 1 GB of RAM. Your system must meet or exceeds these requirements. Please
also observe the system requirements of your host application.

What This Package Includes


• 1 DVD Disc containing the installation for the Garritan Jazz & Big Band Sample Library with the
KONTAKT™ documentation and templates.
• The Garritan Jazz & Big Band User’s Guide.

System Requirements & Recommendations:


• Hard Drive Space: 2.8 GB of free hard disk space.
• Additional Drives: DVD Drive required to install.
• Processor & Operating System: On a PC, Windows XP, Pentium 4 /Athlon 2.0+ GHz or better is
recommended. On a Mac, OS 10.4 or higher, G5 or MacIntel 1.8 GHz or faster is recommended.
• RAM: A minimum of 1 GB of RAM is required to play the entire library. There is a direct correlation
between the number of instruments that can be loaded and the amount of available RAM. The more
RAM available the better.
• Sound Card: A sound card is required for playing the sounds of the Garritan Jazz and Big Band
library. For Windows, DirectSound, MME or ASIO drivers are required (ASIO recommended for
use with Garritan Studio). For Mac: Core Audio or ASIO.
• MIDI: A MIDI interface may be required if you are using a MIDI keyboard, MIDI controller, or an
external sequencer. Some keyboards using USB may not require a MIDI interface.
• Mod Wheel: The Mod Wheel on your keyboard controls volume/timbre for wind instruments;
it must be advanced to hear sound. Wind instruments automatically load with a moderate default
level. If you do not have a Mod Wheel, then you will need to either assign the controller (cc#1) to an
external slider/knob or draw Mod Wheel data directly into your MIDI tracks.

IMPORTANT NOTE: The Kontakt audio engine is designed to make use of the processing
power of your computer’s CPU. The powerful and complex algorithms of the Kontakt Player
work best on newer CPUs. Please also observe the system requirements of your host application,
notation program and/or sequencing program if applicable.

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Installation Instructions
If this is your first Kontakt2 Player product, then the Player will be installed with the library. If you
already own a Kontakt2 Player library, the Player installation will be skipped and just the library will be
installed. To install the Garritan Jazz and Big Band and Kontakt2 Player:

1. Check that your computer meets the minimum requirements to run Kontakt Player.
2. Quit all applications.
3. Insert the DVD into the drive.
4. Use the Windows Explorer (PC) or Apple Finder (Mac) to open the installation DVD if does not
open automatically.
5. Start the Installation Program by double clicking Setup.exe (Windows) or the Kontakt Player OSX Install
icon (Mac). Follow the instructions on the screen to guide you through the installation procedure.

VST, DXI, AUDIO UNITS AND RTAS PLUG-IN INSTALLATION


When you run the Kontakt Player installer, you can select which components you would like to install:

PC INSTALL MAC INSTALL

Make sure you always install the Standalone Application and the Library. Install the VST, Audio Units,
DXi and RTAS options if you wish to use those particular plug-in formats. The VST plug-in will be
required if you will use the GPO Studio application.

For VST, you can choose to automatically search for the VST plug-in folder, or manually select the VST
plug-in folder of your choice. Please select the option that best suits your installation requirements. If
you decide to install the VST plug-ins at a later date, you may need to place the Kontakt 2 Player into
the VST plug-ins folder of the host program. Please consult the manual of your VST host program.

NOTE: If the VST plug-ins are not visible in the Windows Explorer, select the Show All Files
option. This option is located in the Explorer menu View—>Folder Options...on the View tab
below Hidden files. Optionally, you can set up your host programs so that they all use the same VST
plug-ins folder. The VST plug-in will be required if you will use the Garritan Studio application.

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It may be easiest to install all listed components; if asked for a destination location, you can use the
default location provided. On Windows the setup program will suggest a path in the Native Instruments
folder as the path for the destination folder. This folder contains the files required to operate the
software. The default path is preferred but you may also choose another folder. If you do not choose a
different program path during installation, links to Kontakt2 Player and a ReadMe file are added to the
Start menu under Programs\Native Instruments.

IMPORTANT: Do not move the installation folder to another location!

UPDATES
Be sure to check the Native Instruments web site for any possible Kontakt2 Player updates that have
occurred since the time your software was manufactured. Software is frequently updated and a more
recent version may be available. Library updates may also be available at the www.garritan.com website.
On these websites, you can get the latest updates to the Player and library, access tutorials, obtain technical
support, get special upgrade pricing, and participate in the Garritan and Kontakt forums and more.

An important part of the Library and Kontakt Player installation is the Product Authorization. After
installation, it needs to be registered to make permanent use of the product.

Product Authorization - NI SERVICE CENTER


To authorize the library, you should use the Native Instruments Service Center application, which
was installed along with the Kontakt2 Player software. NI SERVICE CENTER is a user-friendly
application that helps you to activate all NI products on your computer in one go. The NI Service
Center guides you through the easy-to-follow step by step activation process.

Product Authorization provides full registration and entitles you to make full use of this library and all
related services. You are given a 30-day grace period for each library before registration is required, but
it is recommended that you register as soon as possible. Information on the registration procedure is
given below.

After installing the Library and Player, it will run in demo mode (also called a grace period) for 30 days.
When you launch Kontakt2 Player, in the Browser you will see a little caution icon to the left of the
library title. A yellow icon means the library is running in demo mode. After a library has been properly
registered, the caution icon disappears entirely. A red icon means the demo period has expired and the
library can no longer be used until it has been registered. The red icon may also appear if the system ID
of the computer changes due to new hardware components (CPU, motherboard, etc.) If this occurs, the
library will need to be re-registered. You get two installations with your product. Therefore you can use
the library on both a laptop and a desktop, or on two separate computers.

The Update Manager provides access to the latest updates, hotfixes and more for your products.
You can select the files you wish to download; view information regarding the update as well as
manage all downloads.
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INSTALLATION AND START


The NI Service Center takes care of the Garritan Jazz and Big Band registration as well as all NI
product activations, including earlier NI products formerly authorized with the “Registration
Tool”. It can also be installed individually using an installer, which can be downloaded from
the Native Instruments web site.

LAUNCHING SERVICE CENTER:


The NI Service Center can be started from the following locations:

• Splash screen from your Garritan/ Native Instruments product which is in 30-days mode
• From the Help menu of the Garritan/Native Instruments product
• PC only: In the Windows start menu
• From the installation folder, e.g. C:\Program Files\Native Instruments\NI Service Center on
PC and Applications\Native Instruments\NI Service Center on Mac.

PLEASE NOTE: NI Service Center needs Administration rights to be able to activate your
products.

ONLINE OPERATION
This section explains the operation of the NI Service Center if your computer has an
internet connection. Read on in chapter “Offline Operation” if your computer has no internet
connection.

Checking Internet Connection


NI Service Center checks for an existing Internet connection first. If your
computer is currently not online, the connection box of your operating
system is launched. While trying to connect, a circle is shown.

NOTE: You may get a warning message from your internet firewall as soon as NI Service Center
tries to connect to the internet. This is normal and good protection of your computer. Please
allow NI Service Center to pass the firewall in order to proceed. We recommend to “always
allow” the internet connection of NI Service Center, that way you do not have to confirm this
every time you launch the Service Center.

If you still encounter problems with the detection of the internet connection please ensure that you use
the latest version of NI Service Center. For more information and downloads please visit:
www.native-instruments.com/servicecenter.info.

If NI Service Center fails to establish an internet connection, it offers three options to proceed:

• Try connecting to the internet again: Select this and press Next when you have established an
internet connection.
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• Use a proxy server to connect to the internet: NI Service Center may not be able to detect the
proxy settings you have made for certain internet software. Therefore you have to enter your proxy
server settings when required. Usually you can copy these settings from your standard web browser
which you have set up for a proxy server.
• Offline mode - continue without connection to the internet: Select this option and press Next
when your computer has no internet connection at all. In this case proceed with chapter “Offline
Operation”.

If your computer is part of a larger network (e.g. if you


work in a company) a direct internet connection is
usually not allowed, but a proxy server is used for security
reasons. In this case you need to enter the settings for
the proxy server to connect to our registration server.
The settings in Service Center are the same as any web
browser. You can easily copy them from the browsers
proxy settings. The following settings are required: Host
Name, the IP address, and the Port Number.

PLEASE NOTE: If you do not use a proxy


server, please leave the fields blank and save the
settings with the “Save Settings” button.

SERVICE CENTER UPDATE


As soon as a new NI Service Center version is available, it will be
detected automatically and a download procedure will be initiated.
The following dialogue will appear (shown right). Please click Next
to proceed with the software download. Native Instruments strongly
recommends using the latest client software version. A dialogue will
show the status of the software download and when the update has been successfully downloaded.

After the latest software version has been downloaded successfully, NI Service Center has to be restarted.
This can be done easily by clicking on the Next Button within the appearing dialogue.

NI LOGIN
Login page: This page allows you to create a new user
account, or to enter an existing user name and password, if
you already have a NI user account. When you create a user
account at Native Instruments, the user name and password
are automatically sent to the e-mail address you entered.

• Yes, I already have an NI account: Enter your existing user name


and password here, if you already have an NI user account.
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• Remember Login: Activate this check box to store the login permanently on your computer. Once
it is stored you do not need to enter it when accessing protected areas of the NI web site from NI
Service Center.
• Forgot your password? Click this link to receive an e-mail containing a new password. It also allows
you to change your current password.
• No, I do not have an NI account: Choose this option, if you have no NI user account. A dialog to
enter your details will open.

PLEASE NOTE: Be sure to use a serial number of a Native Instruments product which has already
been registered in your user profile. For security reasons there is no way to resend your current
password to you. You always need to create a new one in case you have lost your current one.

CREATING YOUR NI USER ACCOUNT


This step is only necessary if you have no NI account yet. If
you already have a user account, you can directly enter your
username and password on the previous page (see Login
page).

NOTE: A user account is necessary for all types of


product activation, update downloads, access to our
web site content and technical support.

The registration view asks for your user name, your full e-
mail address and your full name and address. These items are mandatory. Make sure to enter a complete
and valid e-mail address as your user name, since your password will be sent to this e-mail address.

Optional: Forum Account - You can also sign up to the NI forum here and create a nickname under
which you participate in the forums as well as a password for the forum login. Confirm your personal
data by pressing Next.

NOTE: Native Instruments uses a secure SSL connection with 128-bit encryption that meets
current security standards to transmit your personal data over the web. Native Instruments will
treat the information you provide confidentially. It will be used for registration purposes only and
not be passed on to third parties.

ONLINE ACTIVATION ASSISTANT


The Activation Assistant allows you to activate your installed NI software.

Simply select the yet inactivated NI product(s) and


click Next to start the activation process. The Online
Activation Assistant will contact the NI registration
server and the NI server will return with an activation
key to unlock the product(s) permanently. After
activating a product for the first time its serial number
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is allocated to your username in our registration database and you gain access to all product-specific
content on the NI web site.

OFFLINE ACTIVATION ASSISTANT


If you do not have an internet connection on the computer
in which the product is installed, choose “Offline mode -
Continue without connection to the internet”. This message
appears if no internet connection has been found. These are
the steps to complete an Offline Activation:

• Choose Offline mode when there is no internet connection.


• Press the Export button to save the Activation Request File (HTML file) on a portable medium (e.g.
USB stick, CD, etc)
• Transfer the Activation Request File to a computer with internet connection.
• Double click to open the HTML file in your standard web browser.
• Click the Send-button appearing in your web browser and follow the steps.
• On the website, choose either “Yes – I do have an NI account” and enter your login data or choose
“No – I don’t have an NI account” and register.
NOTE: Your username and password will be sent to you per e-mail after creating a new user
account. Keep in mind that the e-mail can only be delivered to you if you have entered a correct
and complete e-mail address.
• At the end of the online process click the link to download the Activation Return File (.naf ) and save
it on your portable medium.
• Transfer the Activation Return File (.naf ) to your audio computer.
• Go to the “Offline Activation Assistant” in NI Service Center and click the Import button to load
the Activation Return File.

NI SERVICE CENTER OPTIONS


Online Activation Assistant - This will launch the Activation Assistant for activating not yet activated
products.

Update Manager - The Update Manager shows


the available downloads for the installed Garritan
and other Native Instruments products on your
computer. In detail, the following information is
displayed: Release Date, File size in Megabyte and
Release Notes. The option “Open Download folder
after download” allows it to automatically open the
folder where the update has been downloaded to. To
perform a download please click the check boxes for
the different updates and click Next. The Update
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Manager is accessible from the main menu and from the Activation Assistant. In case all your products
are activated, the update manager opens as the Service Center’s first page.

PLEASE NOTE: The Update Manager only works in online mode.

After clicking Next, please choose the folder to which


you want to download the update installers. By clicking
‘New Folder’ a new folder will be created in a selected
directory. While downloading, a download statusbar
is shown. After the file has been downloaded the
download status is printed in green letters. By pressing
‘Next’ you’ll be forwarded to the Main Menu.

• Product Overview - This view displays all NI software on your computer that requires activation.
Select the respective tab to see either the status of activation or product details like serial number
and activation key.
• Product Details view displays information that may be useful when contacting NI support e.g. the
serial number, system IDs and activation keys for each product. Click on the “+”-symbols to see
the details.
• Personal Settings - The Personal Settings page lets you change the language of NI Service Center
and edits your personal details like e-mail and postal address. Change your user name (e-mail
address) as well as postal address by clicking on the Edit your address data link. Make sure to keep
your postal address up to date.

Language - NI Service Center adjusts to the language of your


operating system when starting up for the first time. However,
you may choose another language on the settings page. A click on
the “Choose your language” link displays the languages currently
offered.
SUPPORT INFORMATION
This provides information for Registration and Technical Support.

For more information about the NI Service


Center, go to www.native-instruments.com
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The World of Sampling and Software Instruments


Garritan Jazz & Big Band is a complete collection of actual high-quality recordings (or samples) of
nearly every note, of each musical instrument commonly used in a Jazz and big band context. When
Garritan Jazz & Big Band is loaded and you play a note on your keyboard, what you hear sounds
remarkably like the real thing, because it is an actual recording of an instrument.

Developed in the early eighties, sampling technology has grown substantially. Sampling is now
everywhere. Many movies, prime-time television shows and interactive games use sampling technology.
Now everyone can have a jazz and big band in their computer. With Garritan Jazz & Big Band, the
sample player is integrated with the sounds effectively turning a computer into a band of virtual
instruments.

TIP: Don’t overlook the possibility of combining Jazz and Big Band instruments with GPO
or other orchestral libraries. JABB instruments can expand your palette of sounds for
many musical applications, not just Jazz.

How to Use Jazz and Big Band


Once installed and authorized, it’s time to get started with Jazz and Big Band. There are three ways to use
the Garritan Jazz and Big Band: as a plug-in within a sequencer, with a notation program (via your notation
program’s hosting or with a VST Host), or you can run the stand-alone Jazz and Big Band application.

USING KONTAKT2 PLAYER AS A STANDALONE APPLICATION


The stand-alone version of Garritan Jazz and Big Band can be played live via MIDI keyboard,
independent of other programs. In this case, your computer acts as a stand-alone instrument, similar to
an electronic keyboard or synthesizer with MIDI ports and analog inputs and outputs.

To use Kontakt2 Player as a standalone application, go to the Program Files or Applications folder
and launch Kontakt2 Player. When you do this, Kontakt2 Player communicates directly with your
computer’s audio and MIDI hardware interfaces. You must configure the Audio and MIDI Settings in
the File menu of Kontakt2 Player. For more information
on Audio and MIDI setup instructions, please refer to
the readme files with the Kontakt2 Player.

BASIC SETUP INFORMATION FOR STAND-


ALONE MODE:
To use the Standalone version you have to configure
the Audio and MIDI settings in the Kontakt2 Player
Setup dialog box (found in the File menu).
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Garritan Jazz & Big Band

Soundcard Tab
• Interface: All of the supported (and installed) audio interfaces are available in this drop-down list.
Select the desired audio driver (PC: MME, Direct- Sound, ASIO 2.0; and for MAC: ASIO 2.0 or
Core Audio) from the list. Note: ASIO is recommended.
• Sample Rate: Depending on the sound card and driver you are using, various sample rates are
available. Set the desired sample rate here.
• Output Device: Here you can define which of the installed audio interfaces should be used for the
audio outputs based on the driver selected under Interface.
• Input Device: Here you can define which of the installed audio interfaces should be used for the
audio inputs based on the driver selected under Interface. Note: With some interface types (e.g.
ASIO or Core Audio), the Input Device setting is not available. Instead you can set the inputs for
the chosen driver on the Routing tab.
• Output Latency: This box displays the output latency. With some drivers you also get a latency
slider for setting an individual latency for the Kontakt2 Player.

Routing tab Audio & MIDI tab

In the Routing tab, if you are using a multi-channel sound card, Kontakt2 Player also allows you to
freely select which channels to use for the output signals. In the MIDI tab, the two boxes (MIDI inputs
and MIDI outputs) display all of the MIDI inputs and outputs that are correctly installed on your
system. Click in the right column to “on” or “off” to activate or deactivate the corresponding MIDI
input or output. From this point on, Kontakt2 Player sends and receives MIDI on these activated
inputs and outputs.

USING GARRITAN JAZZ AND BIG BAND IN A SPECIFIC SEQUENCER:


When used as a plug-in, the Garritan Jazz and Big Band becomes a virtual instrument that can be
seamlessly integrated into your favorite sequencer or “host” computer program. A major advantage to
using a sequencer is that all settings are saved together with the song files and are totally retained and
recalled upon reload. You can also load multiple instances and many instruments can be loaded at once
in a sequencer.

The Garritan Jazz and Big Band works as a plug-in with many popular sequencers including Cubase,
Sonar, Logic, Digital Performer, Samplitude, Nuendo, ProTools, GarageBand, Tracktion, FL Studio,
Orion and others. There are many resources and tutorials on how to use the Garritan Libraries with the
various popular sequencers and are available on the Garritan website at www.garritan.com.
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There are four major plug-in standards:

Plug-in Standard Description Windows Mac


VST The VST plug-in stands for Virtual Studio Technology and was developed by
Steinberg, the makers of the Cubase family of audio programs. It is also used by
Cakewalk Sonar, Mackie Tracktion, Magix Samplitude, Nuendo, FL Studio and
x x
other sequencers.
DirectX (DX) DirectX (DX) is Microsoft’s multimedia plug-in standard for Windows 95, 98,
2000, ME, NT and XP. DirectX plug-ins work only with Windows on a PC. It is x
currently used by Cakewalk Sonar, FL Studio, and Sony Vegas
Audio Units The Audio Units (AU) plug-in standard was developed by Apple Inc. for Core
Audio under Mac OS X. Audio Units is becoming the preferred plug-in format
on Mac OSX and is used by Emagic Logic Audio under OS X. It is also used by
x
Digital Performer 4.11+
RTAS RTAS plug-ins (Real Time Audio Suite) are designed to work in the Digidesign Pro
Tools environment. Pro Tools hardware and software are used extensively in the pro x x
audio and post production communities.

USING GARRITAN JAZZ AND BIG BAND WITH A NOTATION PROGRAM

Notation is a fundamental part of music creation. Notation programs allow you to easily create and print
sheet music with your computer. Until recently it was not possible to play realistic sounds from notation
programs. Garritan Jazz and Big Band pioneered the use of notation with samples and was developed
specifically for notation. For the first time it was possible to play orchestrations directly from a score.

A special “notation version” of the Garritan Jazz and Big Band library is included on the disc along
with the Standard Garritan Jazz and Big Band version. The Notation version of GPO is very similar to
the Standard version but there are important differences which make it more compatible with the way
some notation programs handle MIDI data. MakeMusic Finale® and Human Playback® have special
integration with GPO. Sibelius®, GenieSoft Overture®, Quickscore, MidiNotate and other notation
programs have also developed specific soundsets for GPO. There are also specific notation plug-ins
designed to optimize use with Garritan Jazz and Big Band.

There are two ways to use Garritan Jazz and Big Band with notation programs. One is to use it directly
from within a notation program that can host Jazz and Big Band. The other is to use the Garritan Studio
host application. Recent advances in notation technology will allow you to play Garritan Jazz and Big
Band sounds directly from within certain notation programs. Programs such as MakeMusic FINALE
2006® will now allow you to host and integrate Garritan Jazz and Big Band directly in the application.

You can also play from the score of your notation program using Garritan Studio. Garritan Studio is a
downloadable VST Host application designed to allow you to play Jazz and Big Band from a notation
program. You can use nearly any notation program that supports MIDI including Finale (2005 and earlier),
Sibelius, Overture, MidiNotate, Quickscore, Noteworthy Composer, Encore and other notation programs.

IMPORTANT NOTE: Please refer to the Support Pages at www.garritan.com for tutorials on
how to use Garritan Libraries with various different sequencers and notation programs.

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How the Kontakt2 Player Works


THE BASIC INTERFACE

The Kontakt2 Player allows you to load and customize the Garritan Jazz and Big Band sounds to be
used for playback. The Kontakt2 Player consists of several main parts: the Browser, the Main Control
Panel, the Tabs (to access specialized screens) and the specific controls for the library. This section will
familiarize you with the Kontakt Player interface. It can get a little technical but stay with it.

1. BROWSER

On the left side of the screen is the Browser window with three tabs. The Browser gives you the capability
to navigate through the library (or libraries), as well as view engine information and assign automation.
In the screenshot above, the Browser is opened to the Libraries tab.

Libraries Tab
The Libraries tab shows the libraries that can be played
in the Kontakt2 Player. For each library, there are
Instruments, Multis, and Info menu. These three menus
allow you to navigate through the library. Instruments
are the basic patches that are created for you to use and
Multis are combinations of various instruments.

If you click on the Instruments button, all instruments will be displayed below in the Browser. If you
click on the arrows just to the right of either button, the contents of the library will appear in an easy-
to-use hierarchical menu. If you click on the Multis button (especially with other libraries), all Multis
will be displayed in the Browser.

The Info tab brings up additional information about the library such as Updates, Registration, Forum
and Support. In the submenu under the Libraries tab are a few buttons. There is a refresh button to
refresh the Browser and an eject button to eject an optical disc.
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NOTE: Kontakt2 Player is only able to play libraries developed specifically for it. Kontakt2
Player is not able to load general Kontakt patches, nor is it able to import libraries from other
formats. To do these things, you must own the full version of Kontakt 2.

Engine Tab
Clicking on the Engine tab brings up information about how the Kontakt engine is performing. This
information is updated in real-time, so you can watch exactly how it behaves under various conditions
(e.g. high polyphony, high CPU loads, etc.)

Automation Tab
The Automation tab allows you to assign various types of MIDI automation to various knobs
within Kontakt2 Player either in standalone mode or when using Kontakt2 Player as a plug-in,
select Host Automation. (See Appendix A – MIDI Automation for more information).

2. MAIN CONTROL PANEL

The Kontakt2 Player main control panel gives you access to several controls and displays which
are global to the program.

The upper four buttons (Browser, Outputs, Keyboard, and MasterKontrol) toggle the visibility
of these four areas of the program.

NOTE: If you are using the standalone version of Kontakt2 Player, you can use the F1-F4 keys
to toggle each of these buttons from the keyboard.

Browser Section:
The Browser has been discussed above; we will now look at the other three areas individually.
Output Section:
When you click the Output button, the Output window appears at the bottom of the rack.

There are two types of faders: “Blue” faders that


relate to channel outputs (the number of faders
depends on the number of available outputs), and
four “orange” faders that control return from the
four send effects.Each fader, output or aux return,
has four effect insert points. The output channel
features, going from left to right across the top,
are:
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• Add Channel: Adds another output channel to the Outputs section.


• Delete Channel: To delete a channel, click on any section of the channel that doesn’t contain an
editable parameter; the channel becomes outlined in yellow. Click on Delete Channel to delete.

Note: You cannot delete the Aux return channels.

• Hide Inserts: Hides all inserts to conserve space.


• Edit Effect: To edit an insert effect, click on it. Then click on this button to open and close the
edit section for that effect. To delete an effect, click on the effect strip that includes the parameters
(not the module in the slot); the effect strip becomes outlined in orange. Then, press the computer
keyboard’s Delete key.
• Reset Out Map: This button can be used to restore the output mapping to the default settings.
• Make Default: Clicking on this button saves the current output mappings as your permanent
defaults. (These output mappings are saved to the Kontakt2 Player application directory inside the
Defaults folder.)

Each channel has a name field at the top. You can double-click in the field and type in the desired name.
Below the name are four effect slots. To insert an effect, click on the downward arrow toward the right
of the slot, and select the desired effect from the drop-down list. You can Adjust Output or Aux Return
Level by moving the appropriate fader.

Config:
This is where you configure the output for a number of channels and channel assignments. When you
click on a channel’s Config button, a dialog box appears with several fields. You can edit the Channel
Name, but also, the number of audio channels (click on the Audio Channels parameter, then drag it up
or down). Note that you can’t specify more audio channels than actually exist.

Each channel shows up in a list. Click on the channel’s Physical Out field, and a pop-up menu appears with
all available output. Click on a physical output to assign it to a Kontakt2 Player virtual output. You can use
the << and >> buttons in the lower left hand corner to automatically go to the next available output.

Keyboard
The Keyboard button displays an onscreen virtual keyboard which features tinted keys, which can be
helpful in auditioning the sounds of the instrument. Keys which have samples mapped on them are
tinted blue, and keyswitch keys are tinted red. Keys which are being played will be shown in real time.
You can transpose the keyboard’s range within three octaves as well as create pitch bend and Modulation
events (MIDI CC 1).

NOTE: Clicking on the graphic keys, moving the mod wheel, etc. in the player will not be
recorded to your sequencer. This must be done from your sequencer tracks or an external
keyboard controller. If you have a MIDI keyboard connected, you may play the samples using
your keyboard as well.

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Master Control
When enabled in the Main Control Panel, this sits right under that panel and provides various
functions.

The tempo knob sets the tempo for tempo-synched effects. If Kontakt2 Player is used within a host
program, this displays the host’s tempo. The default is 120.00 BPM. There is also a sync button to sync
to incoming tempo information (not visible in the standalone version). You can set the tempo manually
by adjusting the tempo knob, or double-clicking on the tempo field and type in a new number, or by
tapping a rhythm on the Tap button.

To use the Metronome, click the On button to enable it. The light below the On button flashes with
the tempo, and the control varies the metronome volume.

The Master Tune area defaults to A=440, but can be adjusted with the knob from A=392 to A=493. You
can set a reference pitch, and tune the sample against it. Turn it on with the On button, and use the
knob to set the reference tone level.

Load/Save
The Load/Save menu gives you options for loading and saving instrument and multis, as well as resetting
the entire multi (i.e. clearing the rack). Instruments and multis can be loaded using the Load option,
and can also be loaded by simply dragging and dropping the NKI or NKM file from the desktop.

NOTE: When saving instruments and multis, you are only saving the instrument/multi
definition files, not the individual samples. Each individual sample is encrypted within the
protected monolith file, and the raw samples cannot be extracted. In the Save dialog box, the
patch + samples and monolith options are not available. This is due to the copy protection of the
library; the samples cannot be extracted nor resaved.

There is an option to save the patch with absolute sample


paths enabled or disabled. When you save with absolute paths
enabled, the patch file includes a direct and absolute link to
the location of the encoded samples on your hard drive. In
other words, the absolute path will reference your hard drive name and the exact subfolders which the
encoded samples are stored. This is the best option to use if you will not be sharing this library among
multiple computers and intend not to move the location of the encoded samples. By doing this, every
time you load one of the user patches, it will instantly and automatically find the samples.

By disabling the absolute path option, a relative path is used instead. For example, if you save the instrument
in a subfolder which sits alongside the encoded sample files, a relative path will read something like “go up one
level in the folder hierarchy and you’ll find the encoded samples there.” Relative paths are the best option if you
think you may move the samples around. Be sure that the relative location between the newly saved patch and
the encoded samples stays the same in order to make sure the samples can always be found automatically.
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If a saved patch ever loses track of where its samples are stored, you will be presented with a dialog box
upon load which prompts you to find the location of the samples. Instruments and multis saved from
within Kontakt2 Player are accessible through the Browser’s User Instruments and User Multis menus,
and can be used by anyone who owns the same library, from within either Kontakt2 Player or the full
version of Kontakt 2. The instruments cannot be used by a user who does not own the same library.

Options
The Options menu is where you determine overall Kontakt2 Player preferences. Clicking on this button
opens the Options window, which has five subcategories.

TAB 1: INTERFACE - Here you make basic adjustments to Kontakt2 Player’s layout of Kontakt
and functionality.
• Small, Medium & Big Size: The View menu lets you choose one of three sizes for Kontakt2
Player: Small, Mid, and Big. The edit boxes let you specify the size, in pixels, for the size. The width
and height have separate fields; to change a field, double-click on it and enter the new value.

Note: New values will take effect the next time you open Kontakt Player.

• Capture Keyboard from Host: Enabling this button catches certain keyboard keys and routes
them to Kontakt2 Player rather than to the host program. For example, you may want to type
certain things on the keyboard and have them affect Kontakt2 Player but have no effect on the
host (e.g. you want to name something in Kontakt2 Player using a letter that happens to be a
keyboard shortcut for the host). Enabling this ensures the keystroke is interpreted by Kontakt2
Player but not the host.
• Capture Mouse from Host: This is similar to Capture Keyboard from Host, but directs the
Mouse Wheel movements to Kontakt2 Player instead of the host.
• Show Mapping and Keyswitches on Keyboard: This button shades keys on the “virtual master
keyboard” (along the lower part of the window) to indicate mapping and keyswitching.
• Auto-refresh Browser: This option activates the auto updating of the browser. When activated,
the browser automatically detects from the operating system if a folder is changed / created.
• Menu Font Size: This drop-down list allows setting the font size bigger for increased legibility, or
smaller to fit more items on screen.

TAB 2: AUDIO ENGINE - These settings affect Kontakt2 Player’s audio engine.
• Default Volume for New Instruments and Volume Reset: Choose between –6dB and 0dB.
• CPU Overload Protection: This function will kill voices if the CPU load gets too high. You can
specify how tolerant you want the engine to be.
• Multiprocessor Support: Enable this checkbox if you have a computer with more than one
processor to take advantage of the additional CPU power.
• Offline Interpolation Quality: The new HQI mode allows you to select among three quality
options when bouncing audio from within a host. “Standard” corresponds to the old mode,
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whereas “High” and “Perfect” increase the quality. HQI mode helps you eliminate digital aliasing
sounds which become particularly audible when you transpose sounds with significant high
frequency content upwards. Note that this quality comes with a price in the form of additional
CPU load and thus a lower total voice count.
IMPORTANT: Both modes “high” and “perfect” will use more CPU if the transposition is
higher.e.g. if you transpose a sample one, then 2 octaves, the CPU load will double every octave.
So if you transpose your sample many octaves higher, the CPU load might be very high.

• Open Audio and MIDI Settings: Click on this button to view audio and MIDI settings that
relate to your audio interface.

TAB 3: HANDLING
• Use Computer Keyboard for MIDI Playback: This lets you use your computer keyboard to
trigger Kontakt2 Player (handy for laptop jockeys on airplanes!). You can also edit the Velocity
value that a key will trigger.
• Keyboard Velocity: This specifies what velocity should be sent when using the computer
keyboard for MIDI playback.
• Solo Mode: Choose between Solo-In-Place (only one instrument can be soloed, others will be
muted) and Solo Latch (you can switch several instruments into solo mode).
• Browser: Double-Click Loads Instrument: If enabled, double-clicking on a Sample in the
Browser creates a new Instrument, with the sample spanning the entire keyboard range. If you
Shift-Click multiple samples and double-click on the group of Samples, this not only creates a
new Instrument, but also auto-maps the Samples equally across the keyboard.
• Browser: Show Files Before Folders: This alters the sorting algorithm of the Browser to show
files before folders.
• Default Root Key for New Zones: Samples without root key information will default to this as
their root key.
• MIDI Channel Assignment for Loaded Patches: This menu tells Kontakt2 Player what
MIDI channel you want newly loaded instruments to be assigned to. “1st Free” loads up each
subsequent instrument on the first unused MIDI channel. “Omni” assigns all instruments to
OMNI (meaning they will receive MIDI on any incoming channel). “Keep channels from K 1.x
Patches” will allow the patches to load with whatever MIDI channels were saved within older
Kontakt 1 patches.
• Installation Base Path: If you change the name of the Kontakt2 Player folder, certain presets
might not be available anymore. Set the installation path here to the location of the Kontakt2
Player folder.

TAB 4: LOAD/IMPORT
• Load Instruments/Banks/Multis in “Purged Mode” (Without Loading Samples into RAM):
Reloads the parameters of Samples that were purged, but without the Sample data itself. See
Purge Menu below.
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• Force-load Pre-2.0 Patches in DFD Mode: This forces the engine to use DFD streaming even
for old patches that were not originally saved with it.

TAB 5: SEARCH/DB -This screen gives you options to specify what folders or volumes should be
used when using search functions.

TAB 6: DFD - Direct from Disk


• Amount of Memory for DFD: Adjusts the amount of RAM to dedicate to the DFD process.
Although samples stream from disk, it is necessary to store attacks in RAM so they are available
instantly upon playback. If DFD isn’t working properly, try allocating more RAM to this function.

Purge Menu
Purge analyzes which samples were used in an arrangement, and removes from RAM any samples that
weren’t used. Thus, Kontakt2 Player can handle huge amounts of samples while exhibiting very low RAM
usage. Scoring of large ensembles with many instruments and samples now becomes manageable.

Purge is available here on a Global level, but is also available on the Instrument level. You would use
Global purge after a song was done, and you wanted to remove all unneeded samples. The Instrument
purge is handy if you’ve finished a part; you can purge samples for that Instrument alone, thus freeing
up RAM for additional overdubs.

Click on the downward arrow to access the following functions.


• Reset Markers: Deletes all “tags” that mark samples as used.
• Update Sample Pool: Unloads unused samples from RAM, loads newly marked Samples in RAM.
• Purge All Samples: Unloads all Samples from RAM.
• Reload All Samples: Reloads all Samples used in an Instrument.
• Load Everything Purged (Without Samples): Reloads the parameters of Samples that were
purged, but without the Sample data itself.

A display for the instrument shows Purge status.


• Green: All Samples are loaded.
• Orange: Samples have been purged to reduce RAM requirements.
• Red: Empty – all Samples are unloaded from RAM.

View Menu
The entire instrument can be re-sized from the View menu. Choices are
Normal, Bigger, and Large. Typically you will use Large when creating
Instruments, and Normal when everything has been programmed,
and you’re using Kontakt2 Player as a plug-in or stand-alone device.
You can set the window size under Options > Interface.
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System Performance Meters


These are located in the upper right section of the Main Control Panel. Clockwise from upper left, these
show the following.
• Polyphony: The amount of polyphony being used. The first digit shows the current number of
notes being played; the second digit shows the maximum amount of polyphony.
• CPU: Shows how much CPU power is being used by Kontakt2 Player. More bars indicate more
CPU use.
• Disk: Shows the amount of Kontakt2 Player’s hard disk access. Pulling more data from disk
illuminates more bars.
• RAM: Indicates how much memory is being taken up by the samples used by Kontakt2 Player.
This figure will be much higher if DFD is not being used.

Minimized Player View


The last button on the right (next to the NI logo) is for Instrument Focus view. Clicking
on this button will instantly zoom into the currently selected instrument, and will hide
all other areas of the Kontakt2 Player interface (e.g. Browser). This can be a useful tool to
instantly collapse the Kontakt2 Player screen to its smallest size and most essential elements.

About Screen
An About screen can be accessed by clicking either the Kontakt2 Player logo in the far upper left corner
of the interface, or the NI logo in the far upper right corner. The About screen contains the specific
version numbers of all components of Kontakt2 Player, as well as design credits and links to web pages
containing updates, support, and more.

Multi Area
The Multi area is the large area on the right side of
the Kontakt2 Player. Also referred to as the rack,
this is where all loaded Kontakt2 Player instruments reside. You can load multis (which are combinations
of instruments) or you can load individual instruments, and they will both appear here. There are a few
buttons in the upper right hand corner that allow you to work with the rack.

The four numerical buttons allow you to switch between four different pages of the rack. By using these,
it’s possible to load up to 64 different instruments at once. The Aux button is a toggle switch to show or
hide the aux send faders for each instrument.

Instrument views
PERFORMANCE VIEW
The performance view shows a custom panel which allows you to alter specific characteristics of the instrument. You
can view this panel by clicking on the “G” icon immediately below the gear icon in the upper left hand corner.
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In the J&BB interface there are various controls. There are controls for tuning, volume, pitchbend
range, portamento, variability, and other controls. These will be discussed in a later section of this
manual.

MINIMIZED AND MAXIMIZED VIEW


The instrument minimize and maximize buttons allow you to instantly collapse or expand every
instrument in the rack to its minimized or maximized view, respectively. The maximized view, as shown
above, is useful when editing an instrument and accessing its panel. The minimized view is useful when
you want to view all your instruments at once.

An instrument in minimized view shows only its name, solo and mute buttons, volume, pan, and tune
knobs, and meters. The X button in the upper right corner deletes the instrument, and the + button
switches to performance view.

Instrument maximized view is also available. An instrument in maximized view shows additional details
about the instrument, such as output settings, MIDI channel, polyphony, a memory meter, and the purge.
Clicking on the gear icon itself brings up the Instrument Options window, which will be discussed below.

Instrument Options
INSTRUMENT TAB
• Voice Stealing Mode: Choose from:
1. Kill any (the algorithm decides which is the best one to steal);
2. Kill Oldest (oldest note still sounding);
3. Kill Newest (most recently played note);
4. Kill Highest (highest-pitched note);
5. Kill Lowest (lowest-pitched note)
• Voice Stealing Fadeout Time: Sets how long a stolen voice will fade out before it disappears,
from 0 to 1000ms. This may cause the number of voices to temporarily exceed the maximum
amount of polyphony specified.
• Key Switch Default Key: This is the first key that is activated when you load this instrument with
“Start on key” group start options.
• MIDI Transpose: Transposes incoming MIDI data in semitones. Example: If this is set to 2 and
you play a C# on your keyboard, the Instrument being triggered will play a D#.
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• Key Range: This sets the Instrument’s


keyboard range. Placing your mouse over
the lower or upper limit causes a double
arrow to appear. Drag up to raise the
limit’s note pitch, or drag down to lower.
The range cannot go below C-2, or above
G8. Use this with multiple Instruments to
create keyboard splits - for example, bass
could cover the lower two octaves of your
keyboard, and piano the rest. Double-click
the value field to enter a note from your
computer keyboard.
• Velocity Range: This restricts the velocity range to which an Instrument will respond. Placing
your mouse over the lower or upper limit causes a double arrow to appear. Drag up to raise the
velocity limit, or drag down to lower. The range cannot go below 1, or above 127. Double-click
a value field to enter a value from your computer keyboard.

DFD & Load Tab


DFD PRELOAD BUFFER SIZE: Sets the amount of RAM dedicated to each preload buffer when
using DFD. This is an expert setting and should not be adjusted unless you are instructed to do so from
tech support. You have been warned!

Controller Tab
• MIDI Controller #64: This drop-down menu determines how Kontakt2 Player responds to MIDI
Controller #64, which defaults to different choices depending upon the type of instrument. Here
are your options.
1. Sustain Pedal and Controller: Kontakt2 Player will respond to a switched (on-off) or
continuous controller (values above 64 = sustain on, values 64 or under = sustain off).
2. Sustain Pedal without Controller: Kontakt2 Player will recognize only a switched
controller. (e.g. Piano)
3. Controller Only: Kontakt2 Player will recognize only a continuous controller. (e.g.
Saxophone)
• Accept All Notes Off/All Sounds Off: This option will filter All Notes Off and All Sounds Off
messages, which some older controllers send by default.
• Accept Standard Controllers for Volume and Pan: This option will cause each instrument to
automatically respond to CC#7 for volume and CC#10 for pan.
• MIDI Controller #7 (Volume) Range: Using this dropdown menu, you can adjust the minimum
and maximum values that incoming MIDI CC#7 will translate to when controlling the volume
of an instrument.

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Info Tab
• Instrument Icon: Choose an Instrument’s identifying icon.
• Instrument Info: A notepad for the Instrument, possibly including copyright information,
helpful tips, etc.
• Instrument Categories: Choose an Instrument category. Being able to search on this can help
considerably with database searches.
• Author: Information on the sample’s creator. This is limited to 8 characters, so longer descriptions
can go in the Info box.
• Weblink: Provides a web link to the Garritan web site.

What is Jazz?
Ask 100 people “What is jazz?” and you’ll probably get 100 different answers. Part of the reason is
because jazz is not predictable like classical music where players must play what is on the printed page
without much artistic license.

Jazz is a living art form, always changing and evolving, and never the same. The essence of Jazz is
improvisation. In most jazz performances, players interpret and communicate music in their own
unique way and express their own individual voices. The players typically play solos they make up
on the spot. This makes jazz a very expressive musical form, capable of musically communicating the
thoughts and feelings of the players. Whether it is sorrow or joy, no music so eloquently gives voice to
an individual.

Jazz music is player oriented where basic guidelines are established and the players are free to individually
or collectively improvise. Usually, the same piece can not be played again in the exact same manner as
it can in classical music. Jazz can take a familiar tune and make it fresh each time it is played. “Never
play a thing the same way twice.” remarked Louis Armstrong. Although improvisational in nature, jazz
requires considerable skill. The simplicity will fool you.

It is in the act of spontaneous creation where we truly find Jazz, and the
listener plays an important role and experiences what is being expressed.
There is a personal connection with the musing that is unlike other
forms of music. Jazz invites the listener into a relationship with the
players. The inspired motif at a particular instant may be in response to
audience involvement as the player communicates.

So, again, what is jazz? Someone once asked this question to legendary
great jazz musician, “Fats” Waller and his response was: “If you hafta ask,
you ain’t never gonna know!”

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THE GROWTH OF JAZZ


by Chuck Israels

In the late 19th Century USA, the popularity of brass bands, like John Philip Sousa’s, made trumpets,
trombones, flutes, clarinets, saxophones, and drums familiar and easily accessible to young American
musicians. Before long, players of these instruments, especially those who lacked the traditional European
style schooling in technique, began to exhibit some of the nuances and inflections of American spoken
language in the way they expressed themselves through musical sounds.

In the evolution of classical music, a general consensus had developed about how instrumentalists were
to be trained to adjust and modify their playing in order to create a homogeneous ensemble blend
and an instrumental version of the operatic vocal line. The situation in the shorter history of jazz
was somewhat different. Individual nuances of timbre, attack, and pitch inflection became valuable
commodities to the jazz musician, and the development of a personal sound was taken as a sign of
musical maturity.

For example, the saxophone, developed in the 19th Century as a reed instrument capable of competing
in loudness with brass instruments, and which has a more or less uniform sound in classical music,
evolved in the 20th Century into a jazz instrument most remarkable for its ability to accommodate a
variety of personal expressive styles. There is not so much a jazz saxophone sound as there are Coleman
Hawkins sounds, Lester Young sounds, Johnny Hodges sounds, Charlie Parker sounds, Harry Carney
sounds and Gerry Mulligan sounds. The situation is not all that different for brass instruments. Louis
Armstrong changed the sound of the trumpet for everyone, even classical trumpet players, but Miles
Davis and Clark Terry are instantly recognizable too, not to mention all the sounds that Ellington’s
players contributed with special mutes and plungers. And whose sound represents the jazz trombone,
Jack Teagarden’s, Al Grey’s, Bill Harris’ or J.J. Johnson’s?

Similar situations exist among the rhythm instruments where creative bass players, drummers, and
guitarists developed personal approaches to their instruments. Bassists Jimmy Blanton and Ray Brown
invented ways of playing pizzicato sounds that had a remarkably extended decay, while still maintaining
a nearly superhuman power of rhythmic precision and strength of attack. Over time, this kind of
instrumental sound became accepted as the “default” for jazz bass lines, supplanting the tuba, bass
saxophone, and left hand of the piano player, as the ideal embodiment of pulse and pitch for propelling
the rhythm of this American music.

Charlie Christian was the first jazz guitarist to find acceptance and acclaim using an electromagnetic
pickup, and his playing remains a template for the electric guitar in jazz. Others have continued to
develop this technology, so that the accepted sound of the electric guitar now embraces timbres as
diverse as Wes Montgomery’s and Jim Hall’s.

The development of the standard jazz drum kit, with each of the drummer’s limbs available to contribute
to the pallet of percussion sounds and rhythmic textures, was another factor in the history of the idiom.
Drummers like Jo Jones, Kenny Clarke, Max Roach, Roy Haynes, Buddy Rich, Art Blakey, Philly Joe
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Jones, and Elvin Jones each left an indelible mark on the way we hear the possibilities of the drum set,
establishing a variety of ways of using ride cymbals, high hat cymbals, snare drums, tom toms, pedal
operated bass drums, mallets, sticks, and wire brushes, to create interesting and changing drum parts.

The inclusion of a rhythm section (piano/guitar, bass, and drums) “continuo” part in most jazz
ensembles is a part of the tradition that is particularly useful in a kind of music which often depends
on a repeated series of chords to set a controlling background texture against which a varied foreground
can be successfully designed. That foreground may consist of an improvisation played by an individual
instrumentalist, a singer, or a combination of instruments in a written passage. The rhythm section
instruments have a wonderful effect on the music, but it’s also useful to leave them out in some passages
for contrast and for the dramatic propulsive effect of their re-entry.

The history of the organization of these instrumental sounds into efficacious combinations is full of
change and development, from early New Orleans style polyphonic ensembles, to the modern wind
ensemble sounds of Gil Evans’ music. There is a world of idiomatic history just in the study of rhythm
section combinations and balances, and another encyclopedia’s worth of tradition in the way Fletcher
Henderson, Count Basie, Duke Ellington, and Billy Strayhorn organized the reed and brass sections.

The history of jazz instruments is full of unique and personal ways of making individual instrumental
sounds and equally unique and creative ways of combining them. There is a rich pallet of sounds
available to those jazz composers/arrangers lucky enough to have access to good musicians to perform
their work. For those for whom this access is unavailable, there are sample sounds to use as audio
“sketches” to check basic timbres and balances as they experiment and create new music. The Garritan
Jazz and Big Band library is intended to serve this purpose.

Getting started using the sounds in the Garritan Jazz and Big Band will be intuitive enough for jazz
arrangers who have had experience with live musicians. For those whose experience is more limited, here
is some basic jazz arranging information:

All the saxophones have the same written range, from B flat below middle C, to F, 2 1/2 octaves
above. This transposing trick allows a saxophone player to switch instruments without the necessity
of learning new fingering, and it makes an understanding of the range and registers clear simply by
observing the position of the notes on the staff system. It is helpful to understand that the saxophone
was invented for volume, and it is not an easy instrument to play softly. The lowest two or three notes
on the soprano, alto and tenor tend towards a rough and honking quality that is not easy to control,
while the baritone is a little easier in this respect. The high range of the baritone, somewhat underused
in the standard repertoire, can have a stentorian, singing quality that makes an effective solo voice
and, incidentally, blends well with the French Horn. When combining saxophones in unison with
brass instruments, the most effective combinations occur when the timbres are recognizably different.
Combining a baritone Sax with a Trombone is more interesting than using a tenor sax with it.

Trumpet and trombone ranges are roughly similar, though separated by an octave. The trumpet
range starts on E below middle C (written F#) and extends comfortably 2 ½ octaves to a high B
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flat (written C above the staff). This range is accessible to most student trumpet players. Expert lead
players can extend that range up to a 5th higher while high note specialists soar another octave or more
above that. The trombone has a similar range, starting on E below the bass clef staff and reaching
the high B flat a 7th above middle C. Many trombone players are quite comfortable extending that
range upwards by a 3rd, and lead players go even higher on occasion. There are also useful pedal
notes available below the usual bottom of the range. Tenor trombones cannot play any of the notes
between the low E and the pedal B flat (a diminished 5th lower), but the pedal notes can be effective,
especially in a three or four part unison. (B flat, A, and A flat are all available, but the tradition is
to make special use of the B flat.) Bass trombones (with extra tubing brought into play with trigger
valves) can play all the chromatic notes down to the pedal notes and then extend the range down
to an F below that.

The most useful guitar range is written from E below the treble clef to G, 3 octaves above middle C
(sounding an octave below the written range). Most guitars have fret boards that extend a 4th above
that G, but that range becomes a little thin sounding because of the short length of the vibrating
string. When writing for the guitar in unison with other instruments, it is often good to keep the
guitar range within the staff. For instance, having the guitar part in a written unison with a piano
line puts the sounding guitar an octave below the piano, but the effect is that the sounds blend well,
sometimes better than writing the guitar an octave higher, resulting in a real unison.

Basses go from a written low E (below the bass clef staff) to G above the staff for normal bass lines
(sounding an octave lower) with another octave available for solo passages. When it is necessary to
have bass notes sound in sustained passages with wind instruments, the results are better when those
notes appear in the lower winds. Overdoing the volume of the string bass, or using an electric bass to
balance the harmony in the winds may overpower the ear’s ability to hear the mixtures of notes and
harmonies in the middle and upper parts of the music’s range. To my way of hearing things, this is
the biggest and most common error in the use of the many technological advances that allow musical
instruments to play louder. The electric bass guitar (or amplified string bass) is a fine choice for music
largely devoid of dynamic and textural nuance, and there is some fine music in that category, but
may not be appropriate for even the loudest music that Basie or Ellington ever played.

It is helpful to remember that all instruments have the effect of sounding low at the bottom of their ranges,
and high at the top of their ranges, so that middle C on the flute sounds deep and low, while the same note
on the baritone saxophone or trombone sounds quite high, and it sounds very high on the bass.

This is only a quick overview of what’s available to the user of this sample library. There are many
fine arranging and orchestration books available where one can find information about the traditions
of writing for jazz instruments, range charts for these and other instruments, and examples of classic
scores. A good source of arranging knowledge is the collection of Ellington scores published by Jazz @
Lincoln Center.

CHUCK ISRAELS,
Bellingham, WA
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JAZZ ARRANGING TECHNIQUES


by Gary Lindsay

The road from orchestrator to jazz arranger may be navigated more easily if you have the right tools. The
most fundamental tool, “jazz concept,” is developed through listening to jazz arrangers and composers,
and defining the roles of members of a jazz ensemble. The roles of horn players (a generic term referring
to trumpet, trombone and saxophone players) in a jazz arrangement fall within three categories: melody
(or improvised lines), counter-melody, and accompanying rhythmic or sustain pads.

The jazz band rhythm section (piano, bass, guitar and drum set) doesn’t have a direct parallel in most
orchestra music. In addition, the members of the rhythm section play dramatically differently according
to the style of music, i.e., swing, Latin, funk, etc. The role of the piano and/or guitar is predominantly as
accompanist providing a combination of sustained and rhythmic pads commonly referred to as “comping.”
Occasionally, their function includes melody or counter- melodies in the form of written music or
improvised solos. Depending on the style of the music the bass may provide an ostinato pattern, a highly
rhythmic/syncopated pattern or a quarter note walking style (swing) - any of which will contribute a
harmonic, rhythmic, and even melodic (walking bass) element to the proceedings. The drummer, usually
using all four limbs, provides rhythmic pulse to the arrangement as defined by the musical style.

Listen with “arranger’s ears” to identify the elements of melody, counter-melody, rhythmic and sustained
pads, and the roll of each member of the rhythm section. Observe how each element is being scored
(orchestrated). An arrangement is not static, it is moving along a timeline at a speed determined by
the tempo of the arrangement (constant or otherwise). As with orchestral writing, the elements of an
arrangement constantly change. The melodic element may start in the piano, move to saxophones, and
then to the brass. With all the other elements shifting (not necessarily at the same time), there is an
almost limitless number of ways to combine elements to create a unique arrangement.

“Jazz Arranging Techniques” is a comprehensive guide to the tools and techniques of jazz arranging.
Adopted by colleges and universities around the world, this is the authoritative book for jazz arranging,
providing the theory and arranging techniques that can be used with the sounds of the Garritan Jazz
and Big Band Library. These book provides examples of techniques used in small and large ensembles
and further explains how to create voicings, notate rhythm-section parts, articulate horn lines, adjust
the balance and blend, etc., with a sequential approach. In addition to numerous scores, illustrations
and recordings, the book also incorporates exercises and assignments. Multiple recordings are provided
on the accompanying CD for listening and score analysis. Jazz theory and harmony, principles of jazz
voice leading, voicing techniques, rules governing music calligraphy, chord symbol nomenclature, and
jazz notation and articulation are presented in a very systematic (step by step) approach.

For information about “Jazz Arranging Techniques” visit www.lindsayjazz.com

Gary Lindsay
Miami, FL
www.lindsayjazz.com
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KINDS OF JAZZ

Jazz provides many musical opportunities for creative expression in a variety of styles. Although there
is no set form of jazz ,there are many subcategories within the various styles. Below are some of the most
common styles of jazz. This is not a comprehensive list, it just scratches the surface:

• Dixieland: Louis Armstrong, Original Dixieland Jazz Band, Jelly Roll Morton, Earl Hines,
Sidney Bechet, Johnny Dodds, Bix Beiderbeck and Kid Ory
• Big Band/Swing: Count Basie, Nat King Cole, Benny Goodman, Billie Holiday, Duke
Ellington
• Bebop: Charlie Parker, Dizzy Gillespie, Thelonious Monk
• Cool jazz: Miles Davis, Dave Brubeck
• Free jazz: Ornette Coleman, Cecil Taylor, John Coltrane (Ascension album)
• Jazz-Rock Fusion jazz: Miles Davis, John McLaughlin, Herbie Hancock
• Modern Jazz (contemporary and avant-jazz): Wynton Marsalis, Pat Metheny, Joe Lovano,
Joshua Redman, and Don Byron
• Latin Jazz: Afro-Cuban and Brazilian.

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Playing the Jazz & Big Band Instruments


Garritan Jazz and Big Band provides stellar tools to transform high-quality jazz and big band sampled
sounds into stunningly realistic performances. Garritan Jazz and Big Band offers an easy, intuitive
and standardized control system to enable you to play and shape many articulations in real time.
The controls are streamlined so you can quickly get comfortable with your sounds and focus on
making great music. The controls for one family of instruments generally carry over to other sections
so that you feel at home with the entire library. With little practice, you can perform several tasks
simultaneously, as a real jazz musician does, so you can hear the musical results in real time. This
chapter introduces you to the performance controllers that offer you a wide range of possibilities for
musical expression.

BASIC CONTROLS FOR ALL WIND INSTRUMENTS:

nMod Wheel (cc1)


Controls Volume YNote Velocity
& Expression Controls Attacks and
Accentuation

[Key Switching
Change brass mutes
IMPORTANT! Make sure you always and some articulations
move the Mod Wheel up in order to In Real-Time
hear volume. Record a nudge of the
Mod Wheel at the beginning of every
ZSustain Pedal (cc64)
MIDI sequence in order to start with
For tongue/slur
the correct initial volume.
articulations

Note: “cc” = continuous controller – usually followed by the controller’s number (e.g. cc64.)

THE BASIC REAL-TIME CONTROL SYSTEM:


Use your right hand to control the notes you play and note accents; Mod Wheel to control dynamics
and expression; and the sustain pedal to switch between tonguing and slurring for horns or standard
sustain for instruments like piano. In addition to these four basic controls, Garritan Jazz and Big Band
has many advanced controllers for things like Automatic Variability, Vibrato, Portamento, note length,
air flow noise, keyclicks, tone quality, flutter tongue/growl, falloffs, doits, and other features. With this
approach many playing techniques can be handled in real time in much the same manner as a real
wind player.
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1. MOD WHEEL CONTROL CC1

Shaping Dynamics & Playing Expressively

One of the things that make an ensemble sound great is the wide range of dynamic contrasts. Every
phrase and the notes themselves have unwritten dynamics that the player interprets. Without dynamics,
music would lack nuance and depth of expression. The Mod Wheel controls volume (plus volume-related
changes in timbre) and provides dynamic and expressive control. You need to use the Mod Wheel to get
the most out of Garritan Jazz and Big Band. The Mod Wheel is a controller normally mounted at the left
side of the keyboard and played with the left hand. With Garritan Jazz and Big Band, the Mod Wheel
simultaneously controls both Volume (ppp to fff ) and Timbre (brightness or EQ) for all non-percussive
instruments. Especially with the brass instruments, louder levels produce a brighter sound.

GET TO KNOW YOUR MOD WHEEL! If you don’t hear any sound when you load Garritan Jazz
and Big Band, don’t worry. By default the volume is at its lowest level and you must move it up
for the instruments to be audible. The Mod Wheel controls dynamics and volume. Make sure you
always move the Mod Wheel up in order to hear the instrument. Think of it as having to start the
air flowing and the reed or lips buzzing in the instrument before you hear a sound. In the case of
a sequencer, make sure to record a nudge of the Mod Wheel at the beginning of every MIDI track
so that the instruments will start with the correct initial volume upon playback. Remember that
the mod wheel is NOT a “set and forget” controller. It is intended to be used as an expressive
controller that is in nearly constant motion shaping the volume and timbre of a passage.

You will discover that using the Mod Wheel Control adds a new dimension of feeling and expression
to your performances, making them all the more believable. Try experimenting with the Mod Wheel to
develop control over the dynamics. As you play a melody, attempt a gradual crescendo or decrescendo,
instead of going suddenly from soft to loud or loud to soft.

As shown above, Mod Wheel Control allows you to simulate a surging crescendo/diminuendo

EXERCISE: Play a melody with your right hand only and notice how there is little variation at
all. It doesn’t sing as it should. Now imagine how you would sing the tune. Where is the peak of the
phrase? Where would you make a crescendo and a diminuendo? Now, as you play the melody, attempt
those crescendos or decrescendos with the Mod Wheel. Listen to the effect as you make gradual
changes, adjusting the dynamics to suit your musical sensibilities.

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Note: With the Kontakt2 Player version of J&BB mod wheel (cc#1,) isn’t the only way to control
volume/timbre. Expressive instruments will also respond to breath control (cc#2) or MIDI
expression (cc#11.) It is not necessary to take any steps to activate these alternate controllers – they
are always available. One important caveat: You must use only one of these controllers at a time.

2. NOTE VELOCITY

Attack and Accentuation

Virtually all keyboards made today support a feature called “Note Velocity” which refers to how fast (or
hard) you press a given key. With Jazz and Big Band, the harder you press down a key, the harder and
sharper the attack; the softer you hit the key, the gentler the attack. Hitting a note even harder will give
the tone that extra punch.

Applying proper accentuation brings clarity and emphasis to the notes being played. It can also shape the
rhythm and flow of a piece of music. There are many types of accents: strong accents, normal accents,
staccato accents, to name a few. The degree of force you apply to the keys will vary depending on the
instrument selected and the musical context. With brass and winds, accents are made by “tonguing”
harder to emphasize certain notes. Whenever you feel that a note should be accented, do it by striking
the key harder. Keep in mind that this only works when the sustain pedal is “up.” This is the position
for tongued notes.

It is important to note that this control relates to attack strength (for the most part) independent of
volume. Many instruments in Garritan Jazz and Big Band (brass and winds especially) have volume
controlled by the Mod Wheel. So, don’t always try to play notes louder by banging on the keyboard,
or the result may be a heavily accented note that you did not intend. Percussive instruments (including
the piano and bass pizzicato) do use note velocity for volume and volume-related timbre changes, in
addition to attacks, and the Mod Wheel won’t do anything for those instruments.

3. SUSTAIN PEDAL CC64

Control of Tongue and Slur Articulations


In wind instruments the tongue is used to release the air flow that energizes the vibration of the reed or
lips. One of the things that makes a Jazz phrase sound idiomatically correct is the distribution of tongued
and slurred notes. In Jazz and Big Band the sustain pedal is given the switching function between
tongued and slurred notes. The default position (sustain pedal up) gives tongued notes. Depressing
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the sustain pedal, while the user plays with deliberate note overlaps, creates slurred transitions between
notes by smoothing those transitions. Recording sustain pedal data at the proper locations in your tracks
can result in much more realistic simulations of tongue/slur articulations.

Remember, the “pedal up” tongued notes use velocity to control the strength of the attack. Recording
shorter note values can create more detached tongued notes. The slur is achieved by holding the sustain
pedal down for the desired group of notes while making sure there are at least small overlaps between the
slurred notes. Whenever the sustain pedal is depressed, the attack portion of the sample is removed to
create much smoother transitions between notes. To get an idea of what the slur function does, consider the
following illustration. This is how waveforms of a musical phrase look when played on a typical sampler:

Notice how disconnected the notes are. Using the Sustain Pedal removes the attack portion of the
sample and connects the notes for smoother sounding effect. The result is a phrase that more closely
emulates the sound of the slur.

NOTE: The Kontakt Player defaults automatically to the correct pedal mode for the particular
instrument type (e.g. wind instruments default to pedal mode 3.) The Notation version of the
library uses pedal mode 2 for all instruments and moves the sustain pedal function to cc68.

OTHER CONTROLS FOR ALL WIND INSTRUMENTS


Most additional controllers are represented by knobs on the instrument Graphic User Interface. Their
function names are sometimes abbreviated.

Pitch Bend Wheel: This control can be used to bend the pitch of a note at its start or while it is
sustaining. It is especially useful for trombone and guitar. For most wind instruments the pitchbend
range defaults to +/-2 semitones to give the user subtle control over scoops, bends, and other important
effects, while avoiding such artifacts as formant displacement. Note that the Notation folder instruments
have a consistent default pitchbend range of +/-12 semitones for compatibility with various notation
software. Pitchbend range settings can be changed at the pitchbend range box on the interface.

Pitch Bend Defeat: cc19 can be used to turn off pitch bend so that bend data can be applied to only
one of two overlapping notes, if desired.
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Portamento Control: This control is related to Pitch bend above and will allow you to slide from note
to note. This is particularly helpful with some instruments, such as the trombone. There is a knob that
adjusts the portamento for instruments that use this function. Portamento (cc20) can be assigned to an
external MIDI fader or drawn as graphic data in the user’s sequencer of choice. Its default setting is “off.”
In general, slides between smaller intervals require greater values than slides between larger intervals.
It is best to draw the data manually (for any specific notes that require slides) in your sequencer or to
assign this feature to a separate hardware controller (cc20) for real-time control. You can also add varying
amounts of portamento for smooth portamento effects (play two notes in a row and one will glide into
the other).

NOTE: Portamento is only active in sustain pedal down mode.

Vibrato Control: There are two controllers that affect vibrato. Aftertouch (sometimes called “Channel
Pressure”) controls the intensity of the vibrato from no vibrato (Aftertouch = value of “0”) to exaggerated
vibrato (Aftertouch = high number value.) Because both components of the vibrato are independently
controllable the user can apply vibrato in a much more flexible and realistic fashion. The speed of the
vibrato is controlled using cc17. Note that some keyboards from M-Audio have no Aftertouch function
but the user can assign cc131 to a programmable slider which, in turn, will send Aftertouch data out
to your computer.

Air Flow Noise: cc12 controls the sound of the air column moving through the instrument. This can
be used for many things, from creating a “breathy” sound to subtly adding a little “grit” to the tone
when used in small amounts. This sound is tied to the amplitude portion of the Vibrato control so that
the air flow will pulsate in synchronization with the speed of the Vibrato. The default setting is “off”
for most instruments.

Key Click/Valve Noise: cc13 controls the level of the noise produced by the key or valve mechanism
of the wind instrument.

HINT: A little of this goes a long way. Use it mostly for subtle enhancement of exposed solo
work. These types of noises are rarely heard in section work where they are masked by other
things. The default setting is “off” for most instruments.

Flutter Tongue/Growl sound: cc18 controls the level of the flutter tongue or “growl” effect. The
default setting is “off.”

Length Control: The default length is the natural release length of the sample. As you adjust controller
cc21, the length of the release portion of the sample can be varied over a useful range. This can be used
along with MIDI note length data and velocity strength to give a wider variety of articulation types
ranging from very short and light to accented and forceful.

Automatic Variability Control: These controls automatically introduce random variability from note
to note. There are two knobs in the Player for instruments that use this feature. VAR 1 controls random
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variations in intonation (cc22) and will introduce random tuning changes from note to note. In other
words, each time a note is played it will be slightly detuned. Lesser values give subtle variations, greater
values are more drastic. VAR 2 (cc23) introduces random variations in timbre (EQ) from note to note.
The combination of these controls can help the user avoid the dreaded “machine gun” effect when a note
or group of notes repeatedly trigger the same sample. See the chapter on Kontakt Player Operation for
additional information on this feature.

Tone Quality control: cc26 controls the basic warmth of the tone quality. It is set by default to a useful
value. cc27 allows the user to modify the center frequency of this EQ function, if desired. Be careful
not to modify the center frequency while a note is being sustained or you may get unnatural “sweep”
artifacts. It is best set to a value for an entire track or modified to a fixed value between notes to affect
all following notes.

Breath noises: All wind instruments have samples of the player taking a breath, which can be inserted at
phrase breaks in your tracks to add another touch of realism. There are a variety of breath types mapped
to the top two octaves of the keyboard. They include quick “catch” breaths and more leisurely slow
breaths to be applied to different situations. These use velocity to control volume.

Mono Mode in Horns: All horns are programmed to be monophonic-only instruments. They only play
one note at a time, as with real horns being played with normal techniques. Limiting the polyphony to
a single voice makes the creation of convincing solo parts much easier, as it eliminates the possibility of
accidental note overlaps. In fact, the tongue/slur programming would not work properly without this.

SPECIAL FEATURES IN SAXOPHONES:

KEYSWITCHING
Switching Instruments for doubling purposes

A folder of combination instruments is available for several of the standard saxophones. Keyswitches
can be used to change between e.g. tenor sax, flute, clarinet, and soprano sax without the need to load
separate instruments into separate tracks. This is especially convenient for notation applications. Here’s
an example:

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SPECIAL FEATURES IN BOTH TRUMPETS AND TROMBONES:

KEYSWITCHING
Change Brass Mutes In Real-Time

Keyswitching allows you to quickly and easily change the type of mute being used for trumpets and
trombones. With a simple touch of a key located on the keyboard below the normal range of the
instruments, you can rapidly switch between different mute patches on the fly without having to load
multiple instruments. These keyswitch instruments are identified by a KS next to their name. When
you press a key in the Key Switch area, the instrument will change to the desired mute. All patches
initially load using the first keyswitch as the default (no mute – “open”) and any keyswitch remains
active until another keyswitch message is received. In the Kontakt player, the keyswitched notes are
displayed on the player keyboard using the color pink.

Although it may be tempting to use your mouse to trigger one of the displayed Keyswitches in the
Kontakt player, it is seldom recommended. The player’s graphic representation of keys, wheels, and
knobs are primarily there for convenient testing. You must never use the mouse to trigger a key switch
you want to record to a sequencer track or notation staff – the mouse action will not be recorded! When
recording a track or entering notation, use your external MIDI keyboard to record the key switch note
or manually enter the key switch note into your tracks.

KEYSWITCH TIPS
• Always put the keyswitching note for the particular instrument *before* the first note
of the articulation you want to play, not at the same time!
• Remember that when you hit "play" on the sequencer, the Jazz and Big Band library will
play the last keyswitch you used. When using a keyswitched instrument, make sure you
begin each track with a keyswitch note, even if you wish to use the default keyswitch.
• If you transpose your score, you must be sure NOT to transpose the KS notes!! Any
transposition to these notes will change (or eliminate) their function.

Shakes: A hidden layer in the sustain pedal data (cc64, values 49-95) can be used to switch to a special
layer designed to aid in playing or constructing convincing shakes (lip trills.) Real shakes can be played
in a variety of ways with differences in the speed of the lip trill and the width of the interval of the lip
trill. We didn’t want to limit the user to static recordings of shakes that would always result in the shakes
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of the same speed and interval for all situations. Instead, a special, switchable layer has been added that
gives the user control over many of the characteristics of a shake so that they can be uniquely tailored
to do what the user needs. “Scripting” will soon add considerable ease of use for this feature. For now,
the user must do the shake construction manually with the supplied controls. The controllers that have
been specially tailored for shakes are: velocity = attack strength/volume trim; c28 = attack speed; cc20
= Portamento; and Pitchbend Range = 6 semitones. A detailed explanation of how to use this feature
will be included in a tutorial on the www.garritan.com site.

Plunger Mute: There are four instruments in the library (two trumpets and two trombones) that use filtering
to simulate plunger mute effects. cc16 controls the “open/close” action of the mute. Default load is “open”
(value 127.) This is another feature where a detailed explanation will be supplied in the User’s Guide.

ADDITIONAL FEATURES IN JUST THE TRUMPETS:


Release Effects: Trumpets in a Jazz context often release notes in unusual ways. The three most
common are: “Falloffs,” “Doits,” and “Kisses.” In Jazz and Big Band these effects can be chosen with
cc15. They are switched as follows:

Value 0-32 off
Value 33-64 Falloffs
Value 65-95 Doits
Value 96-127 Kisses

The Falloffs and Doits apply to a 2 octave area of the trumpet range. The Kisses apply to only the
high concert Bb and above. Notes that lie outside the specified range will give no effects. This is not a
malfunction. See the chart for range information.

The strength of the release effects can be controlled with cc29. Trumpets load with a default value of
“60.”

NOTE: The above features apply to the trumpets but similar effects can apply to the trombones
as well. Since trombones usually accomplish falloff and doit-like effects with the slide, pitchbend
is used for this purpose in Jazz and Big Band. Trombones do not tend to use kisses on high notes
so that feature has been omitted for trombones.

NOTE: The order of brass instruments in JABB (Trumpet 1, Trumpet 2, etc.) is of no particular
significance. The instruments vary in tone and should be auditioned to determine the one most
appropriate for a particular application. As an example: Each one of the trumpets could be used
for the lead trumpet part (within range considerations) and each will sound somewhat different
from the others. Sections are best constructed with a combination of different trumpets rather
than multiple instances of the same trumpet. This will help avoid phasing and other undesirable
effects.
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CONTROLS FOR THE RHYTHM SECTION

BASSES
The library contains two upright acoustic basses, one arco upright acoustic bass, two fretless electric Jazz
basses, and two fretted electric Jazz basses. It should be noted that Upright Bass #2 is contributed by the
inimitable Chuck Israels! Controllers for the basses include:

Velocity volume
Pitchbend +/-2 semitones default setting
Sustain pedal standard sustain
cc12 Fundamental intensity (strength of the “bottom end” of the instrument sound)
cc13 Intensity of finger noises like clicks and snaps – velocity sensitive
cc18 Attack speed (affects the sharpness of the attack)
cc20 Portamento (controls slides between notes)
cc21 Length (controls the length of the decay of the notes)
cc22 VAR 1 (adds random variations in tuning from note to note)
cc23 VAR 2 (adds random variations in timbre from note to note)
cc26 Midrange EQ (a midrange tone control)
cc27 Midrange center frequency (adjusts the character of the midrange tone control)
cc28 High frequency EQ (a high frequency tone control)

Additional controllers for the upright acoustic basses:

Keyswitches for open strings (only open strings sound)


finger slide noises can be inserted using notes beyond the upper range
Special mapping: C5-E5
of the instrument

Additional controllers for the arco upright bass:

Mod wheel Volume/timbre


Velocity Attack strength
Sustain pedal legato
cc19 Pitchbend defeat
Key switches: C-1 Arco
D-1 Automatically alternating up and down bows
G-1 Playable tremolos

Additional controller for the electric basses:

Key switches: C0 standard plucks


D0 harmonics
Special mapping: C5-E5 finger slide noises

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KEYBOARDS
Keyboard choices include a Steinway piano, a vintage electric piano, and an accordion.

The Steinway Jazz Piano is included in two versions: A full version and a “lite” version for those who
need to conserve memory. Both pianos have a brightness control to adjust the high frequency content of
the instrument for adapting to different mixing situations. The pianos use the following controllers:

Velocity Volume/timbre
Sustain pedal (cc64) Standard sustain
cc20 Brightness
cc21 Release Length
Pitchbend range “0” default setting

The Vintage Electric Piano is one of the most popular suitcase-style instruments. The tremolo
effect modulates between stereo speakers in the support base of the keyboard. It uses the following
controllers:

Velocity Volume/timbre
Sustain pedal (cc64) Standard sustain
Pitchbend range “0” default setting
cc22 Tremolo level
cc23 Tremolo speed
cc26 Midrange intensity
cc28 Brightness

VIBRAPHONES
Vibraphones are available in both hard and soft mallet choices. Both use the following controllers:

Velocity Volume/timbre
Sustain pedal (cc64) Standard sustain
Pitchbend range “0” default setting
cc20 Attack speed
cc21 Brightness
cc22 Tremolo intensity
cc23 Tremolo speed

GUITARS
There are two guitars: acoustic and electric. The acoustic guitar is a 10 string model that is recorded in
stereo. The electric guitar is recorded monaurally. Both guitars have been programmed with the future
implementation of scripting in mind to create realistic strumming and other techniques. Controllers
for guitar are as follows:
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Velocity Volume/timbre
Sustain pedal (cc64) Standard sustain
Pitchbend +/-2 semitones default setting
Aftertouch Vibrato intensity
cc13 Finger noise intensity
cc17 Vibrato speed
cc20 Portamento
cc21 Length
cc22 VAR 1
cc23 VAR 2
Keyswitches: C0 standard plucks
D0 harmonics
Special mapping: C7-D#8 slides, taps, slaps

TIP: The guitars (especially the electric guitar) can be used with amp, tube, distortion, and
other audio plugins to greatly modify the basic sound of the instrument. The instruments
in J&BB are recorded “direct” to give the user the flexibility to modify the sound with
such plugins. These plugins are often included with sequencing software or are available
separately from third party developers.

DRUMS

The drums are recorded “in place” in true stereo using an ORTF microphone arrangement for all
instruments except the bass drum. There are three distinctly different drum kits included, with specific
purposes for each. There is the Classic Jazz kit which uses vintage single layer heads for the sound that
is so closely associated with the great tradition of Jazz drummers; there is a Fusion kit that uses double
layer heads for the tighter, drier sound that has become so popular in the last few decades; and there is a
unique Brush drum kit (played with wire brushes) that will give the user the opportunity to do ballads
and other brush grooves that were extremely difficult to accomplish with previous libraries.

There are complete kits for convenient sketching and separate bass drum, snare, toms, hi hat, and
cymbals for more detailed mixing treatment. Knobs on the interface can also be used with the complete
kits to adjust the relative levels of the various instruments types in the kit.

NOTE: The same Cymbal files are duplicated in each of the drum folders for user convenience.
Keep in mind that all Cymbal files are nevertheless identical. The cymbal files contain a wide
variety of cymbals choices for many possible uses.

NOTE: The hi-hat is divided into closed, half open, open and foot closed samples. All of these
are assigned to an exclusive group so that any sample in the group will be cut off by another
sample in the group. For example, if you hit the open hi hat and then quickly hit the foot closed
hi hat, the open hi hat will stop sounding as soon as the foot closed sample begins.

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There are three General MIDI kits: One for Classic Jazz, one for Fusion, and one for brushwork. The
layout for the first two kits follows the General MIDI specifications with one exception: The snare drum
on MIDI note 40 (E1) is an acoustic, not an electric, snare. The brush kit contains one exception as
well: MIDI note 37 (C#1;) it has the brush stir sound assigned to it. The three General MIDI kits have
identical percussion samples, only the bass drum, snare, toms, and hi hat differ. The brush kit uses the
mapping for the snare as in the primary brush kit (see the section on the Brush Drum Kit below.)

NOTE: See appendix for detailed mapping information.

The Primary Controller for All the Drums is:

Velocity Volume/timbre

Other controllers:

cc22 VAR1 (Random variations in intonation)


cc23 VAR2 (Random variations in timbre)
Pitchbend +/-12 semitones
Note A0 used to “choke” cymbals
Level knobs volume control of the various parts of the kit (kick, snare, toms,
hihat, cymbals, and percussion, when present)

The Brush Drum Kit: This is a special case. We think you will find the brush drum kit one of the most
enjoyable instruments in the Jazz and Big Band library. It has some very intuitive and flexible features. Most of
the previous attempts to sample brush drum kits have relied on recording the characteristic snare drum “stirs”
at a variety of different tempi and left it up to the user to choose the particular recorded performance that most
closely matched the desired tempo. Constructing a brush drum part was more like assembling an elaborate
puzzle than playing music. The brush drum kit in Jazz and Big Band is completely different. The snare drum
stirs are actually playable at any tempo and you will find playing the stirs easy and intuitive (not to mention
FUN.) This kit contains two snare drums with stirs and hits, plus brush hits on toms, hi hats, and cymbals.

Snare Drum Brush Stirs:

C#1 (midi note 37) initiates the continuous brush stir sound
Velocity strength of the first brush push
Aftertouch change of stir direction
Note A0 used to “choke” cymbals
Level knobs volume control of the various parts of the kit (kick, snare,
toms, hihat, cymbals, and percussion, when present)

In Jazz and Big Band, stirs are best played from a keyboard that supports Aftertouch. A stir begins as soon as
the C#1 note is depressed and held. The strength of the initial push of the brush stir is directly related to how
hard the key is struck (velocity.) The stir will continue as long as the key is held but one of the most important
characteristics of the brush stir is the figure 8 pattern used between hands and the brush direction change
that takes place during this pattern. In Jazz and Big Band the direction change can be made at any time by
briefly pressing harder on the held C#1. Press just long enough to simulate the direction change and then
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quickly reduce the pressure on the key (without releasing it.) With a little practice, and some full listening
to real brush work, you will be able to simulate brush stirs with uncanny accuracy and ease. All of the data
can be recorded to your sequencer tracks, so you will be able to edit the stirs with as much attention to detail
as you wish. Because the stirs reside in the tracks as note and Aftertouch data many things can be modified
including the tempo – at any time. If you decide that you want your piece of music to be 150BPM rather
than 130BPM, just change the sequencer tempo data and the stirs will follow the tempo change. It will even
follow continuous changes in tempo if you like. There are virtually no tempo limits, except those that would
apply to a real player (if you push the tempo faster than a real player could manage the results will likely sound
rather odd.) If you don’t have a keyboard with Aftertouch support, the Aftertouch data can be assigned to a
hardware fader or knob. It could also be drawn directly into your snare drum track using the tools in your
sequencer. Look for a section in the User’s Guide to illustrate the use of the brush drum kit.

PERCUSSION:
A wide variety of percussion instruments are available in the library. Most use three separate types of
hits (open, muff, and slap) so the user can build rhythmic patterns with the instrument’s characteristic
sounds. Percussion instruments are mapped so that instruments within specified types can be combined
without mapping conflicts using just two MIDI channels. Instruments in the Drum and Gourd
categories can be combined on the same MIDI channel without mapping overlaps. Instruments in the
Blocks, Bells, and Misc. categories can be combined into a second MIDI channel without mapping
overlaps. We also supply complete combination instruments for the convenience of the user. See the
chart in the appendix for details. Percussion instruments can be loaded individually to give the user
independent control over panning, levels, and other mixing decisions.

CYMBAL “CHOKE” FUNTION:


All instruments that contain cymbals use the “A0” key (MIDI note 33) just below the range of the
instrument to damp or “choke” the sound of a sustaining cymbal. When the “A0” key is depressed it
brings the ringing of the cymbal to an abrupt halt.

NOTE: Many of the percussion instruments use programming to introduce automatic random
variations between hits. Each hit will sound somewhat different even if the velocity value is the
same.

GENERAL MIDI KITS:


Classic Jazz, Fusion, and Brush kits are supplied that follow General MIDI conventions, although the
Brush Kit departs from the standard so that the special brush stir features can be used. The departure
affects MIDI note C#1. The C#1 is the brush stir sound.
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The Basic Instrument Interface


The Kontakt Player allows you to load and customize Garritan Jazz & Big Band sounds to be used for playback.
This section will familiarize you with the Kontakt Player interface. It can get a little technical but stay with it.

1. INSTRUMENT INFORMATION WINDOW


This window contains the name of the instrument, the output assignment, the number of voices of
polyphony being used, the maximum polyphony setting, the MIDI channel selection, and the size of
the instrument in RAM.

2. GENERAL CONTROLLERS
These are the general MIDI and audio controllers for the instrument which include solo, mute, tuning,
audio output metering, panning, and level controls. Tuning, panning and level controls are adjusted by
click and drag – horizontal movement for sliders, vertical for knobs; Use Shift+horizontal drag for fine
gradation adjustments of sliders; use Shift+vertical drag for fine gradation adjustments of knobs.

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3. INSTRUMENT SPECIFIC CONTROLLER KNOBS


The number of available instrument-specific controller knobs varies between instruments. Some
instruments have no controller knobs and some have as many as twelve; it all depends on the
programming of the instrument. These knobs load with default settings. The default can be changed by
modifying the knob setting and resaving the instrument.

The following is a list of the abbreviations for the possible instrument controls to be found on the
instrument interface:

• Porta = portamento • RelLev = trumpet release effects level


• Length = note release and decay • Bellow = accordion bellows noise
• VAR1 = random variability of tuning • Bright = tonal brightness
• VAR2 = random variability of timbre • Attack = attack envelope speed
• FiltLv = filter level (tone control gain) • Release = release envelope speed
• Filtfq = filter frequency (tone control • Fund = strength of fundamental
center frequency) • TrmLev = tremolo level
• VibSpd = vibrato speed • TrmSpd = tremolo speed
• ModWhl = mod wheel • MidEQ = midrange EQ
• AirNs = air flow noise • HFEQ = high frequency EQ
• KeyNs = key click noise • Kick = kick drum level
• ValvNs = valve noise • Snare = snare drum level
• FingNs = finger noise • Toms = tom tom drum level
• Fluttr = flutter tongue • Hihat = hi hat level
• Growl = throat growl • Cymb = cymbals level
• Plungr = plunger open and close • Perc = percussion level
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The Woodwind Instruments


The Woodwind section consists of several varieties of instruments, each with its own unique sound.
These instruments include varieties of flutes, clarinets, and saxophones.

PITCH RANGES  WOODWIND INSTRUMENTS IN JABB

The chart below shows some of the typical ranges of the individual woodwind instruments as they
correspond to a piano keyboard. These ranges are not absolute and virtuoso players can often play
beyond the typical upper range of the instrument.

Flutes and Clarinets

Saxophones

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The Brass Instruments


The brass instruments commonly used in a jazz or big band include the trumpet and the trombone.
Sounds are produced by the vibration of the lips as air is being blown past the lips into a funnel-shaped
mouthpiece connected to hollow metal tubing that terminates in a bell. The length of the tubing is
modified by valves that re-route the air flow as part of the process to play different pitches. The vibrating
lips of the player have the same function as the reeds in the saxophones and clarinets.

PITCH RANGES  BRASS INSTRUMENTS IN JABB

The charts below show the typical ranges of the individual brass instruments as they correspond to a
piano keyboard. These ranges are not absolute and virtuoso players can often play beyond the typical
upper range of the instrument. Good brass players can also play pedal tones. Pedal tones are notes
that lie below the natural range of an instrument and take a great deal of control to produce. Mutes
are typically used over a more restricted range partly due to the difficulty in playing the mutes in the
extreme low and high ranges. Mutes are best applied to the middle register of the trombones and
trumpets. Jazz and Big Band limits the mutes to approximately a three octave range.
The trumpets have additional release effects that only apply to certain portions of the range of the
instruments. The characteristic release “kisses” only occur on the highest notes (generally, above the
high C (concert Bb.) “Falloffs” and “Doits” are restricted to a two octave range. “Falloffs” are a release
technique where the player allows the pitch to rapidly fall downward, striking each note of the harmonic
series during the descent. “Doits” are the reverse. The player creates a rapidly ascending effect through
the harmonic series, often combined with a “half valve” technique to smooth the ascent.
Trombones typically use the slide for similar effects, especially the falloffs, but the result is usually a
rapid and smooth change in pitch without the individual notes of the harmonic series being struck.
In Jazz and Big Band these effects are handled with pitchbend data. Tuba is only available in the
Open horn, no mutes. It does not offer falloffs, doits, or kisses. See the charts below for details on
trumpet and trombone ranges for open, muted, and release effects.

Trumpets

Trombones

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Bass Trombone

Tuba

The Rhythm Section


A good rhythm section is the backbone of a Jazz band. The rhythm section usually consists of bass,
drums, piano and guitar. They play different roles than the other instruments of a jazz band. The
rhythm section will maintain a steady rhythm or tempo, establish the style and feel of the piece and
define the harmonic framework of the music.

PIANO AND GUITAR


The piano and guitar typically function as percussive instruments in a jazz band and often provides
rhythmic energy to the music. In jazz bands one often hears the pianist and/or guitarist play short well-
placed and punctuated chords. Both will often “comp” or construct chords on-the-fly from charts or
chord symbols. With piano, unlike classical music, the pedal is not often used, except for special effects.

ACOUSTIC BASS
A bass player is necessary for a good jazz band and provides the rhythmic and harmonic foundation
for the band. Jazz acoustic bass technique is very different from orchestral playing. The bass often plays
legato especially in swing music where a bass line will “walk” in even, smoothly connected notes that
follow the beat of the music. Playing large leaps with too much separation is often avoided. Bass players
will either play written parts or construct bass lines from chord symbols.

DRUM KIT
The drummer in a jazz band establishes and maintains beat and tempo of the music. The drummer also
establishes the form of the music (A-B-A, or A-A-B-A, etc) and provides the cues for the other players
to follow. The hi-hat and ride cymbals are very important to the drummer in Jazz with the hi-hat often
foot closed on beats 2 and 4 and the ride cymbal establishing a swing pattern.
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Notation Version of Jazz & Big Band


The Jazz & Big Band Library contains a separate Notation folder with instruments that are programmed
with important differences which make them more compatible with the way most notation programs
handle MIDI data. Notation instruments have the letter “n” at the beginning of their names to
differentiate them from the standard instruments.

The biggest general difference: All instruments in the notation version use the Kontakt Player’s
standard sustain pedal mode. Most of the differences in programming are a consequence of this
fundamental difference in pedal modes. The programming differences are:

TONGUE/SLUR – controlled by cc68 rather than cc64. This difference applies to all woodwinds and
brass instruments. Please note that instruments which normally use standard sustain pedal (e.g. Piano)
continue to use cc64 for the sustain function.
PITCHBEND RANGE – defaults to +/-12 semitones for all instruments.
KEYSWITCHES – All notation version keyswitches consistently reside in the bottom octave of the
MIDI spec (between C-2 and B-2) for all instruments.

NOTE: The cc7 and cc10 Option in the Kontakt player should be active to allow notation
programs to control relative MIDI volume and panning.

Putting It All Together for a Real-Time Performance


The basic system is to use your right hand to control the attack of each notes; Mod Wheel, in the left
hand, to control dynamics; and the sustain pedal to connect the notes. It couldn’t be easier! With the more
advanced controls you can fine tune your performance. Some keyboards supply an array of assignable
sliders and knobs which can be used for the many additional MIDI controllers used in this library. With
this approach you play your articulations in real time in much the same manner as a true player does.

Using both hands and feet to perform the different tasks simultaneously requires some coordination.
The key is to start simple and to realize that you do not have to do it perfectly the first time. The best
way to learn is to practice playing just the notes with one hand. Learn the fingerings for the notes and
apply the accents, where appropriate. Once you are acquainted with the notes and the accentuation,
gradually add the other controllers. For example, play a melody with the right hand, and then gradually
ride the Mod Wheel for expression. Then add the sustain pedal for legato phrasing. Soon you’ll develop
coordination, and by combining the different controls in real-time you’ll have an unlimited amount of
expressive capabilities. Once you get the hang of it, you can play almost anything that comes to your
musical imagination. Create ensembles of your choosing with individual instruments. By using the
real-time performance controls to expressively play each instrument, when you put it all together the
result will be extraordinary.
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Building Sections from Individual Instruments


With Garritan Jazz & Big Band, you can build instrumental sections, one instrument at a time, exactly
the way you want. This is a unique and intuitive approach to jazz arrangement using samples. When
you create a section from separate instruments performed individually, with variations in timing and
expression, you can achieve a very realistic performance. You can assign instruments of a section to
different MIDI channels so that you can have individual parts for each player. Or, you can assign
multiple instruments all to a single MIDI channel to create automatic ensemble unisons.

When you start building sections from separate instruments, with all the instruments playing
individually, it will sound incredibly realistic. To learn more see the Ensemble Building tutorials on the
www.garritan.com website.

Directory of Instruments in Garritan Jazz & Big Band


The following directory gives the name and a brief description of the Garritan Jazz & Big Band
instrument sounds contained in Garritan Jazz & Big Band. There is also a chart of the available
controllers for each instrument.

MW Mod Wheel Expression Control


Vel Note Velocity for Accents and Attack
Vel (vol) Note Velocity for Volume control
Tng/Slr Sustain Pedal tongue/slur control
Sus (sus) Sustain Pedal for normal sustain control
AF Air Flow or bellows noise
KC Keyclick, valve, or finger noises
RFX Release effects such as falloffs, doits and kisses
Vib Vibrato
Fltr/Grl Flutter tongue/ Growl effect
PBd Pitchbend disable
Port Portamento control
Lgth Length control
VAR 1 Automatic Variability of intonation
VAR 2 Automatic Variability of timbre
TQ Tone Quality adjustment
Trm Tremolo
Brth Breath sounds
Sk Shakes
Brsh Brush stirs
Plgr Plunger mute
KS Key Switching
KC key “choke
Lev Individual level controls for combination instruments
For detailed information about the controllers, please refer to the chapter entitled “Playing Jazz & Big
Band” in this guide.
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THE RHYTHM SECTION INSTRUMENTS


nki name: Description: Controls:
01 Brush Drum Kit Wire brushes, snare #1; combines bass drum, snare, toms, hi hats, and Vel (vol); Brsh; VAR 1;
cymbals into a single instrument. VAR 2; KC; Lev
02 Brush Drum Kit Wire brushes, snare #2; combines bass drum, snare, toms, hi hats, and Vel (vol); Brsh; VAR 1;
cymbals into a single instrument. VAR 2; KC; Lev
Brush Cymbals Wire brush hits on the various cymbals in the brush kit. Vel (vol); VAR 1; VAR
2; KC
Brush HiHat Wire brush hits on 15” high hat hits; A Zildjian on top and Paiste on Vel (vol); VAR 1;
bottom. VAR 2
Brush Snare Drum 1 Wire brush stirs and hits on a Yamaha 4x14” maple snare drum. Vel (vol); Brsh; VAR
1; VAR 2
Brush Snare Drum 2 Wire brush stirs and hits on a Gretsch 5x14” maple snare drum. Vel (vol); Brsh; VAR
1; VAR 2
Brush Toms Wire brush hits on Gretsch tom toms; 16 x 16” floor tom, 9 x 13” rack Vel (vol); VAR 1;
tom, 8 x 12” rack tom; Remo coated heads. VAR 2
Sgl-layr-hd Bass Drum Bass drum hits from the classic kit; 20” x 14” Gretsch with various heads. Vel (vol); VAR 1;
VAR 2

03 Classic Jz Drum Kit Single layer heads for snare, toms, and kick. Does not use General MIDI Vel (vol); VAR 1; VAR
mapping on all notes. 2; KC; Lev
14inHiHat2 14” high hat hits. Vel (vol); VAR 1;
VAR 2
15inHiHat 15” high hat hits; A Zildjian on top and Paiste on bottom. Vel (vol); VAR 1;
VAR 2
Cymbals Selection of ride, crash, splash cymbals and some unusual additions like Vel (vol); VAR 1; VAR
garbage can lids and saw blades. See Appendix B. 2; KC
Sgl-layr-hd Bass Drum Bass drum hits from the classic kit; 20” x 14” Gretsch with various heads. Vel (vol); VAR 1;
VAR 2
Sgl-layr-hd Piccolo Smaller higher pitched snare hits. Vel (vol); VAR 1;
Snare VAR 2
Sgl-layr-hd Snare Hits on the classic jazz kit snare drum; Ludwig 5 x 14” snare with Remo Vel (vol); VAR 1;
Renaissance Diplomat head. VAR 2
Sgl-layr-hd Toms Hits on the classic kit toms; 16 x 16” Gretsch floor tom, 9 x 13” Gretsch Vel (vol); VAR 1;
rack tom, 8 x 12” Gretsch rack tom, Remo coated heads. VAR 2

04 Fusion Drum Kit Double Layer heads for snare, toms, and kick. Does not use General Vel (vol); VAR 1; VAR
MIDI mapping on all notes. 2; KC; Lev
14inHiHat1 14” high hat hits; A Zildjian Newbeats. Vel (vol); VAR 1;
VAR 2
Cymbals Selection of ride, crash, splash cymbals and some unusual additions like Vel (vol); VAR 1; VAR
garbage can lids and saw blades. See Appendix B. 2; KC
Dbl-layr-hd Bass Drum Bass drum hits from the 14 x 22” Gretsch with various heads and pillow Vel (vol); VAR 1;
muffles. VAR 2
Dbl-layr-hd Piccolo Smaller higher pitched snare hits. Vel (vol); VAR 1;
Snare VAR 2
Dbl-layr-hd Snare Hits on the Ludwig 5 x 14” snare with Remo pinstripe head. Vel (vol); VAR 1;
VAR 2
Dbl-layr-hd Toms Hits on Gretsch fusion kit toms; 16 x 16” floor tom, 9 x 13” rack tom, 8 Vel (vol); VAR 1;
x 12” rack tom; Remo Pinstripe heads. VAR 2

GM Classic Jazz Drum General MIDI layout using Classic Jazz Kit sounds in the first octave Vel (vol); VAR 1; VAR
Kit and a half. 2; KC; Lev
GM Classic Jazz Drum Uses less memory than the full version Vel (vol); VAR 1; VAR
Kit Lite 2; KC; Lev

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THE RHYTHM SECTION INSTRUMENTS


nki name: Description: Controls:
GM Fusion Drum Uses less memory than the full version Vel (vol); VAR 1; VAR
Kit Lite 2; KC; Lev
GM(mod) Brush Drum General MIDI layout using Brush Drum Kit sounds in the first octave Vel (vol); VAR 1; VAR
Kit and a half 2; KC; Lev
GM(mod) Brush Drum Uses less memory than the full version Vel (vol); VAR 1; VAR
Kit Lite 2; KC; Lev

Bata Bata drums are double-headed drums from Cuba. Vel (vol); VAR 1;
VAR 2
Bongos A set of two small connected drums typically held between the knees and Vel (vol); VAR 1;
played with the fingers. VAR 2
Cajones Cajónes is a wooden hollow box-like instrument used in Andean, Cuban, Vel (vol); VAR 1;
and Flamenco music. VAR 2
Conga The most important hand drum in Latin music. A tall narrow single- Vel (vol); VAR 1;
headed drum usually grouped in sets of varying sizes. VAR 2
Cuica A Brazilian friction drum. Sound is produced by rubbing a small stick on Vel (vol); VAR 1;
the drum’s inside membrane. VAR 2
Djembe A goat skin covered drum shaped like a large goblet and played with bare Vel (vol); VAR 1;
hands. VAR 2
Pandeiro A small hand-held Brazilian instrument consisting of a round wooden Vel (vol); VAR 1;
frame, with six pairs of metal discs fit along the sides. VAR 2
Quinto A smaller conga drum primarily used for soloing. Vel (vol); VAR 1;
VAR 2
Super Tumba The largest of the conga drums. Vel (vol); VAR 1;
VAR 2
Surdu Large cylindrical drums with two heads typically played with a large Vel (vol); VAR 1;
mallet while the free hand muffles the drum. VAR 2
The Box A custom instrument consisting of a wooden box struck in various ways. Vel (vol); VAR 1;
VAR 2
Timbales A set of two open-bottomed metal drums mounted side by side on a Vel (vol); VAR 1;
metal stand and played with wooden sticks. VAR 2
Tumba A large conga drum with a rich low tone often used in Cuban music. Vel (vol); VAR 1;
VAR 2
Udu A percussion instrument made of clay that possesses distinct tonal Vel (vol); VAR 1;
qualities which range from subtle bass tones to tabla-like tones. VAR 2
Cabassa An instrument consisting of loops of steel ball chains wrapped around a Vel (vol); VAR 1;
wide cylinder that produces rhythmic scraping sounds. VAR 2
Guira An instrument made out of metal that is cylindrical in shape with many Vel (vol); VAR 1;
small round indentations. VAR 2
Guiro A Latin percussion instrument made of a hollow gourd with a grooved or Vel (vol); VAR 1;
serrated surface, played by scraping with a stick. VAR 2
Maracas A Latin percussion instrument consisting of a hollow-gourd rattle Vel (vol); VAR 1;
containing pebbles or beans and often played in pairs. VAR 2
Shakers Calabash gourds strung with beads, used for percussion. Vel (vol); VAR 1;
VAR 2
Shekere A hand shaker consisting of a hollowed small gourd with shells or beads Vel (vol); VAR 1;
attached to it VAR 2
Clave A percussion instrument, consisting of a pair of short, thick wooden Vel (vol); VAR 1;
dowels hit together to produce a high-pitched sound. VAR 2
Jam Block A modern versions of wood blocks made of plastic rather than wood. Vel (vol); VAR 1;
VAR 2
Woodblock A hollow block of wood struck with a stick to produce percussive sounds. Vel (vol); VAR 1;
VAR 2

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User’s Guide to
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THE RHYTHM SECTION INSTRUMENTS


nki name: Description: Controls:
Agogo Bells A multi-chambered steel instrument that is beaten like a cow bell and Vel (vol); VAR 1;
frequently heard in samba and salsa music. VAR 2
Bongo Bells A large handheld bell also called a campana. Vel (vol); VAR 1;
VAR 2
Cha Cha Bells The small bell often mounted on the timbales. Typically associated with Vel (vol); VAR 1;
Cha-Cha and Salsa style music. VAR 2
Timbale Bell Oblong bells specially designed to be mounted on your timbales. Hand Vel (vol); VAR 1;
tuned from Middle C to the 4th an octave above. VAR 2
Castinets A pair of hollow pieces of wood usually held between the thumb and Vel (vol); VAR 1;
fingers that produce a clicking sound. VAR 2
Handclaps - The clapping together of the hands and the snapping of fingers. Vel (vol); VAR 1;
Fingersnaps VAR 2
Jawbone The jawbone of an animal used as a percussion instrument that when Vel (vol); VAR 1;
struck, the teeth rattle. VAR 2
Rainstick A percussion instrument consisting of a hollow tube filled with small Vel (vol); VAR 1;
pebbles that make the sound similar to falling rain. VAR 2
Tambourine An instrument consisting of a small drumhead with metal discs in the Vel (vol); VAR 1;
rim, usually played by shaking and striking with the hand. VAR 2
Triangles Percussion instruments consisting of a piece of metal in the shape of a Vel (vol); VAR 1;
triangle open at one angle. VAR 2
Whistles Small wind instruments for making whistling sounds. Vel (vol); VAR 1;
VAR 2
All Drums Combination of all drum percussion instruments Vel (vol); VAR 1;
VAR 2
All Gourds, Blocks, Combination of all Gourds, Blocks, Bells, and Misc. percussion Vel (vol); VAR 1;
Bells, Misc. instruments VAR 2

Fretless Bass 1 KS G&L L1000 fretless electric bass. Vel (vol); Port; Lgth;
VAR 1; VAR 2; KS
Fretless Bass 1 KS Lite Uses less memory than the full version Vel (vol); Port; Lgth;
VAR 1; VAR 2; KS
Fretless Bass 2 KS Fretless 1972 fretless electric bass. Vel (vol); Port; Lgth;
VAR 1; VAR 2; KS
Fretless Bass 2 KS Lite Uses less memory than the full version Vel (vol); Port; Lgth;
VAR 1; VAR 2; KS
Jazz Fretted Bass 1 KS Fender Fretted electric bass with flat wound strings. Vel (vol); Port; Lgth;
VAR 1; VAR 2; KS
Jazz Fretted Bass 1 Uses less memory than the full version Vel (vol); Port; Lgth;
KS Lite VAR 1; VAR 2; KS
Jazz Fretted Bass 2 KS G&L 2000 Fretted jazz electric bass. Vel (vol); Port; Lgth;
VAR 1; VAR 2; KS
Jazz Fretted Bass 2 Uses less memory than the full version Vel (vol); Port; Lgth;
KS Lite VAR 1; VAR 2; KS
Upright Bass 1 KS Upright acoustic bass, standard “walking” plucks; made by Hammond- Vel (vol); Port; Lgth;
Ashley. VAR 1; VAR 2; KS
Upright Bass 1 KS Lite Uses less memory than the full version Vel (vol); Port; Lgth;
VAR 1; VAR 2; KS
Upright Bass 2 KS Chuck Israels’ French Mirecourt upright acoustic bass, circa 1880’s, Vel (vol); Port; Lgth;
standard “walking” plucks. VAR 1; VAR 2; KS
Upright Bass 2 KS Lite Uses less memory than the full version Vel (vol); Port; Lgth;
VAR 1; VAR 2; KS
Upright Bass 2 Arco KS Chuck Israels’ upright acoustic bass played in arco style with a bow. MW; Vel; PBd; Port;
Lgth; VAR 1; VAR
2; KS

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User’s Guide to
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THE RHYTHM SECTION INSTRUMENTS


nki name: Description: Controls:
Upright Bass 2 Arco Uses less memory than the full version MW; Vel; PBd; Port;
KS Lite Lgth; VAR 1; VAR
2; KS

Accordion Petosa jazz accordion, right hand keyboard plus one octave of bass keys. Vel (vol)
Accordion Lite Uses less memory than the full version Vel (vol)
Steinway Jazz Piano Steinway Model B Grand Piano, chromatic with 2 dynamics. Vel (vol); Sus (sus); TQ
Steinway Jazz Piano Lite Uses less memory than the full version. Vel (vol); Sus (sus);
TQ
Vintage Electric Piano Fender Rhodes, circa 1970’s, suitcase model with stereo tremolo speakers Vel (vol); Sus (sus);
in the base. Trm; TQ
Vintage Electric Piano Uses less memory than the full version Vel (vol); Sus (sus);
Lite Trm; TQ
Vibraphone Hard Mallet Yamaha Vibraphone played with custom made hard beaters. Vel (vol); Sus (sus);
Trm; TQ
Vibraphone Hard Mallet Uses less memory than the full version Vel (vol); Sus (sus);
Lite Trm; TQ
Vibraphone Soft Mallet Yamaha Vibraphone played with Jackson soft beaters. Vel (vol); Sus (sus);
Trm; TQ
Vibraphone Soft Mallet Uses less memory than the full version Vel (vol); Sus (sus);
Lite Trm; TQ
Vibraphone KS Switches between hard and soft mallet Vel (vol); Sus (sus);
Trm; TQ; KS
Vibraphone KS Lite Uses less memory than the full version Vel (vol); Sus (sus);
Trm; TQ

Acoustic Guitar KS Oribe nylon 10-string guitar, 1971; range extends down to the “A” below Vel (vol); Port; Lgth;
the traditional “E.” Additional open strings are included. VAR 1; VAR 2; KS
Acoustic Guitar KS Lite Uses less memory than the full version Vel (vol); Port; Lgth;
VAR 1; VAR 2; KS
Electric Guitar KS Gibson ES-175 Handcrafted Electric Guitar. This model is regarded as Vel (vol); Port; Lgth;
one of the most popular guitars of the jazz world. VAR 1; VAR 2; KS
Electric Guitar KS Lite Uses less memory than the full version Vel (vol); Port; Lgth;
VAR 1; VAR 2; KS
Electric Guitar Mellow Gibson ES-175 Handcrafted Electric Guitar. This one is EQ’d for a more Vel (vol); Port; Lgth;
KS mellow sound. VAR 1; VAR 2; KS
Electric Guitar Mellow Uses less memory than the full version Vel (vol); Port; Lgth;
KS Lite VAR 1; VAR 2; KS

THE WOODWIND INSTRUMENTS


nki name: Description: Controls:
Bass Clarinet The Bass Clarinet plays one octave lower than MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl;
the conventional clarinet. PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth
Bass Clarinet Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth
Bb Clarinet 1 Buffett R-13 wood clarinet; 1st Player. MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth
Bb Clarinet 1 Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth
Bb Clarinet 2 Buffett clarinet; 2nd Player. MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth
Bb Clarinet 2 Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth

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THE WOODWIND INSTRUMENTS


nki name: Description: Controls:
Bb Clarinet 3 Buffett clarinet; 3rd Player. MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth
Bb Clarinet 3 Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth

Alto Flute Armstrong Alto Flute, circa 1970 MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth
Alto Flute Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth
Flute 1 C Flute; made by Muramatsu. 1st Player. MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth
Flute 1 Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth
Flute 2 C Flute; 2nd Player. MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth
Flute 2 Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth
Flute 3 C Flute; 3rd Player. MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth
Flute 3 Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth
Piccolo Yamaha ebony piccolo, circa 1970. MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth
Piccolo Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth

Alto Sax 1 Eb Alto saxophone; made by Buffet MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth
Alto Sax 1 Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth
Alto Sax 2 Eb Alto saxophone; made by Selmer, Balanced MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl;
Action. PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth
Alto Sax 2 Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth
Alto Sax 3 Eb Alto saxophone; made by Selmer, Mark VI. MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth
Alto Sax 3 Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth
Alto Sax 1 KS Keyswitched combination of instruments: Alto MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl;
Sax 1; Flute 1; Bb Clarinet 1; Soprano Sax 1 PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; KS
Alto Sax 2 KS Keyswitched combination of instruments: Alto MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl;
Sax 2; Flute 2; Bb Clarinet 2; Soprano Sax 2 PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; KS
Alto Sax 3 KS Keyswitched combination of instruments: Alto MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl;
Sax 3; Flute 3; Bb Clarinet 3; Soprano Sax 1 PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; KS
Bari Sax 1 Baritone saxophone; made by Bundy. MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth
Bari Sax 1 Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth
Bari Sax 2 Baritone saxophone; made by Bundy; different MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl;
microphones than Bari Sax 1. PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth
Bari Sax 2 Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth
Bari Sax 1 KS Keyswitched combination of instruments: Bari MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
Sax 1; Alto Flute; Bass Clarinet Port; Lgth; VAR 1; VAR 2; TQ; Brth; KS

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User’s Guide to
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THE WOODWIND INSTRUMENTS


nki name: Description: Controls:
Bari Sax 2 KS Keyswitched combination of instruments: Bari MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl;
Sax 2; Alto Flute; Bass Clarinet PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; KS
Bass Sax 1 BBb Bass Saxophone; made by Selmer. MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth
Bass Sax 1 Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth
Bass Sax 2 BBb Bass Saxophone; made by Selmer; different MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl;
microphones than Bass Sax 1. PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth
Bass Sax 2 Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth
C Melody Sax 1 C Melody saxophone; made by Buescher; MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl;
different microphones than C Melody Sax 1. PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth
C Melody Sax 1 Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth
C Melody Sax 2 C Melody saxophone; made by Buescher. MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth
C Melody Sax 2 Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth
Contrabass Sax 1 EEb Contrabass Saxophone; made by Orsi. MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth
Contrabass Sax 1 Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth
Contrabass Sax 2 EEb Contrabass Saxophone; made by Orsi; MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl;
different microphones than Contrabass Sax 1. PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth
Contrabass Sax 2 Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth
Mezzo Soprano Sax F Mezzo-soprano Saxophone; made by Conn. MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth
Mezzo Soprano Sax Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth
Sopranino Eb Sopranino Saxophone; made by Orsi. MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl;
Smallest instrument of the saxophone family PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth
recorded for this library.
Sopranino Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth
Soprano Sax 1 Bb ‘Straight’ Soprano saxophone; made by MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl;
Conn. PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth
Soprano Sax 1 Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth
Soprano Sax 2 Bb ‘Curved’ Soprano saxophone; made by Conn. MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth
Soprano Sax 2 Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth
Subcontrabass Sax Bb Subcontrabass saxophone, also known as the MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl;
“Tubax”; custom made by Benedikt Eppelsheim. PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth
Subcontrabass Sax Lite
Tenor Sax 1 Bb Tenor saxophone, made by Selmer Mark VI MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth
Tenor Sax 1 Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth
Tenor Sax 2 Bb Tenor saxophone; made by Selmer. MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth
Tenor Sax 2 Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth

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THE WOODWIND INSTRUMENTS


nki name: Description: Controls:
Tenor Sax 3 Bb Tenor saxophone; made by Yamaha. MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth
Tenor Sax 3 Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth
Tenor Sax 4 Bb Tenor saxophone; made by Selmer; a MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl;
mellower sound. PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth
Tenor Sax 4 Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth
Tenor Sax 1 KS Keyswitched combination of instruments: Tenor MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl;
Sax 1; Flute 1; Bb Clarinet 1; Soprano Sax 1 PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth: KS
Tenor Sax 2 KS Keyswitched combination of instruments: Tenor MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl;
Sax 2; Flute 2; Bb Clarinet 2; Soprano Sax 2 PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; KS
Tenor Sax 3 KS Keyswitched combination of instruments: Tenor MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl;
Sax 3; Flute 3; Bb Clarinet 3; Soprano Sax 1 PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; KS
Tenor Sax 4 KS Keyswitched combination of instruments: Tenor MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl;
Sax 4; Flute 1; Bb Clarinet 1; Soprano Sax 2 PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; KS

THE BRASS INSTRUMENTS


nki name: Description: Controls:
Bass Tbone Open (no mute) Conn Bass Trombone. Plays one octave MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
lower than a conventional trombone. Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Bass Tbone Open Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Bass Tbone Straight Mute Bass Trombone played with the MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
Straight mute. Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Bass Tbone Straight Mute Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Bass Tbone Cup Mute Bass Trombone played with the Cup MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
mute. Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Bass Tbone Cup Mute Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Bass Tbone Harmon Mute Bass Trombone played with the MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
Harmon mute. Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Bass Tbone Harmon Mute Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Bass Tbone Bucket Mute Bass Trombone played with the Bucket MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
mute. Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Bass Tbone Bucket Mute lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Bass Tbone KS Keyswitched combination of open and MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
all mutes. Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk; KS
Bass Tbone Lite KS Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk; KS

Tbone 1 Open (no mute) Trombone; made by Holton. MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tbone 1 Open Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tbone 1 Straight Mute Trombone 1 played with the Straight MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
mute. Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tbone 1 Straight Mute Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk

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nki name: Description: Controls:
Tbone 1 Cup Mute Trombone 1 played with the Cup MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
mute. Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tbone 1 Cup Mute Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tbone 1 Harmon Mute Trombone 1 played with the Harmon MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
mute. Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tbone 1 Harmon Mute Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tbone 1 Bucket Mute Trombone 1 played with the Bucket MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
mute. Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tbone 1 Bucket Mute Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tbone 1 KS Keyswitched combination of open and MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
all mutes. Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk; KS
Tbone 1 Lite KS Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk; KS
Tbone 2 Open (no mute) Trombone; made by Holton. MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tbone 2 Open Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tbone 2 Straight Mute Trombone 2 played with the Straight MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
mute. Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tbone 2 Straight Mute Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tbone 2 Cup Mute Trombone 2 played with the Cup MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
mute. Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tbone 2 Cup Mute Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tbone 2 Harmon Mute Trombone 2 played with the Harmon MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
mute. Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tbone 2 Harmon Mute Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tbone 2 Bucket Mute Trombone 2 played with the Bucket MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
mute. Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tbone 2 Bucket Mute Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tbone 2 KS Keyswitched combination of open and MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
all mutes. Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk; KS
Tbone 2 Lite KS Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk; KS
Tbone 3 Open (no mute) Trombone; made by Holton. MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tbone 3 Open Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tbone 3 Straight Mute Trombone 3 played with the Straight MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
mute. Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tbone 3 Straight Mute Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tbone 3 Cup Mute Trombone 3 played with the Cup MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
mute. Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tbone 3 Cup Mute Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tbone 3 Harmon Mute Trombone 3 played with the Harmon MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
mute. Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk

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nki name: Description: Controls:
Tbone 3 Harmon Mute lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tbone 3 Bucket Mute Trombone 3 played with the Bucket MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
mute. Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tbone 3 Bucket Mute Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tbone 3 KS Keyswitched combination of open and MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
all mutes. Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk; KS
Tbone 3 Lite KS Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk; KS
Tbone 4 Open (no mute) Mellower tone and more extended MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
range. Good for solo work. Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tbone 4 Open Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tbone 4 Straight Mute Trombone 4 played with the Straight MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
mute. Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tbone 4 Straight Mute Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tbone 4 Cup Mute Trombone 4 played with the Cup MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
mute. Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tbone 4 Cup Mute Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tbone 4 Harmon Mute Trombone 4 played with the Harmon MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
mute. Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tbone 4 Harmon Mute Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tbone 4 Bucket Mute Trombone 4 played with the Bucket MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
mute. Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tbone 4 Bucket Mute Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tbone 4 KS Keyswitched combination of open and MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
all mutes. Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk; KS
Tbone 4 Lite KS Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk; KS
Tbone 5 Open (no mute) Trombone 5, made by Edwards, MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
.500 bore. Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tbone 5 Open Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tbone 5 Straight Mute Trombone 5 played with the Straight MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
mute. Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tbone 5 Straight Mute Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tbone 5 Cup Mute Trombone 5 played with the Cup MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
mute. Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tbone 5 Cup Mute Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tbone 5 Harmon Mute Trombone 5 played with the Harmon MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
mute. Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tbone 5 Harmon Mute Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tbone 5 Bucket Mute Trombone 5 played with the Bucket MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
mute. Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tbone 5 Bucket Mute Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk

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nki name: Description: Controls:
Tbone 5 KS Keyswitched combination of open and MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
all mutes. Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk; KS
Tbone 5 Lite KS Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk; KS
Tbone Plunger Mute Features playable open/close plunger. MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
Separate shake layer not present. Port; Lgth; VAR 1; VAR 2; TQ; Brth; Plgr
Tbone Plunger Mute Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tbone Plunger+Str Mute Features playable open/close plunger. MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
Separate shake layer not present. Port; Lgth; VAR 1; VAR 2; TQ; Brth; Plgr
Tbone Plunger+Str Mute Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd;
Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk

Flugelhorn 1 Flugelhorn in Bb; made by Getzen MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl;
Eterna; principal instrument. PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Flugelhorn 1 Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Flugelhorn 2 Flugelhorn in Bb; derived instrument. MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Flugelhorn 2 Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Flugelhorn 3 Flugelhorn in Bb; derived instrument. MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Flugelhorn 3 Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Flugelhorn 4 Flugelhorn in Bb; derived instrument. MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Flugelhorn 5 Flubelhorn in Bb; derived instrument. MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tpt 1 Open (no mute) Trumpet in Bb with extreme range MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl;
extension to the “triple high C” PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
(concert Bb) for the open horn; made
by King-Golden Flair.
Tpt 1 Open Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tpt 1 Straight Mute Trumpet 1 played with the Straight MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl;
mute. PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tpt 1 Straight Mute Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tpt 1 Cup Mute Trumpet 1 played with the Cup mute. MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tpt 1 Cup Mute Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tpt 1 Harmon Mute Trumpet 1 played with the Harmon MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl;
mute. PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tpt 1 Harmon Mute Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tpt 1 Bucket Mute Trumpet 1 played with the Bucket MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl;
mute. PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tpt 1 Bucket Mute Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tpt 1 KS Keyswitched combination of open and MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl;
all mutes. PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth;
Sk; KS

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nki name: Description: Controls:
Tpt 1 Lite KS Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk; KS
Tpt 2 Open (no mute) Trumpet in Bb with range extension MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl;
to the “double high C concert”; made PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
by Calicchio.
Tpt 2 Open Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tpt 2 Straight Mute Trumpet 2 played with the Straight MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl;
mute. PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tpt 2 Straight Mute Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tpt 2 Cup Mute Trumpet 2 played with the Cup mute. MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tpt 2 Cup Mute Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tpt 2 Harmon Mute Trumpet 2 played with the Harmon MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl;
mute. PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tpt 2 Harmon Mute Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tpt 2 Bucket Mute Trumpet 2 played with the Bucket MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl;
mute. PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tpt 2 Bucket Mute Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tpt 2 KS Keyswitched combination of open and MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl;
all mutes. PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk; KS
Tpt 2 Lite KS Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk; KS
Tpt 3 Open (no mute) Trumpet in Bb with range extension to the MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl;
“double high C concert”; made by Bach. PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tpt 3 Open Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tpt 3 Straight Mute Trumpet 3 played with the Straight MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl;
mute. PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tpt 3 Straight Mute Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tpt 3 Cup Mute Trumpet 3 played with the Cup mute. MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tpt 3 Cup Mute Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tpt 3 Harmon Mute Trumpet 3 played with the Harmon MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl;
mute. PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tpt 3 Harmon Mute Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tpt 3 Bucket Mute Trumpet 3 played with the Bucket MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl;
mute. PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tpt 3 Bucket Mute Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tpt 3 KS Keyswitched combination of open and MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl;
all mutes. PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk; KS
Tpt 3 Lite KS Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk; KS
Tpt 4 Open (no mute) Trumpet in Bb with range extension to MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl;
the “double high C” (concert); made PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
by King-Golden Flair.

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nki name: Description: Controls:
Tpt 4 Open Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tpt 4 Straight Mute Trumpet 4 played with the Straight MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl;
mute. PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tpt 4 Straight Mute Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tpt 4 Cup Mute Trumpet 4 played with the Cup mute. MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tpt 4 Cup Mute Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tpt 4 Harmon Mute Trumpet 4 played with the Harmon MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl;
mute. PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tpt 4 Harmon Mute Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tpt 4 Bucket Mute Trumpet 4 played with the Bucket MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl;
mute. PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tpt 4 Bucket Mute Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tpt 4 KS Keyswitched combination of open and MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl;
all mutes. PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk; KS
Tpt 4 Lite KS Uses less memory than main KS MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl;
instrument. PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk; KS
Tpt 5 Open (no mute) Trumpet in Bb with range extension to MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl;
the “double high C” (concert); made PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
by King-Golden Flair.
Tpt 5 Open Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tpt 5 Straight Mute Trumpet 5 played with the Straight MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl;
mute. PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tpt 5 Straight Mute Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tpt 5 Cup Mute Trumpet 5 played with the Cup mute. MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tpt 5 Cup Mute Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tpt 5 Harmon Mute Trumpet 5 played with the Harmon MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl;
mute. PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tpt 5 Harmon Mute Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tpt 5 Bucket Mute Trumpet 5 played with the Bucket MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl;
mute. PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tpt 5 Bucket Mute Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tpt 5 KS Keyswitched combination of open and MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl;
all mutes. PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk; KS
Tpt 5 Lite KS Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk; KS
Tpt Plunger Mute Features playable open/close plunger. MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl;
Separate shake layer not present. PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth
Tpt Plunger Mute Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tpt Plunger+Str Mute Features playable open/close plunger. MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl;
Separate shake layer not present. PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth

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User’s Guide to
Garritan Jazz & Big Band

THE BRASS INSTRUMENTS


nki name: Description: Controls:
Tpt Plunger+Str Mute Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk

Tuba Bb Tuba MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
Tuba Lite Uses less memory than the full version MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl;
PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk

MULTIS
The “Multis” folder contains preset combinations of instruments for the user’s convenience. Various
setups of sections and instrument groupings are provided including jazz trio; large big band;; etc (see
table below for a complete list). Loading a Multi can give you a quick “head start” to setting up a group
of instruments.

MULTIS
Multi name: Instruments Included:
Accordion Trio Upright Bass 1 KS; Acoustic Guitar KS; Accordion
Big Band Rhythm Section Lite GM Classic Jazz Drum Kit Lite; Upright Bass 2 KS Lite; Steinway Jazz Piano Lite;
Electric Guitar Mellow KS Lite
Big Band Rhythm Section 03 Classic Jazz Drum Kit; Upright Bass 2 KS; Steinway Jazz Piano; Electric Guitar
Mellow KS
Fusion Quartet 04 Fusion Drum Kit; Fretless Bass 1 KS; Vintage Electric Piano; Tenor Sax 1 KS
Jazz Piano Trio Lite GM Classic Jazz Drum Kit Lite; Upright Bass 2 KS Lite; Steinway Jazz Piano Lite
Jazz Piano Trio 03 Classic Jazz Drum Kit; Upright Bass 2 KS; Steinway Jazz Piano
Jazz Quintet 03 Classic Jazz Drum Kit; Upright Bass 2 KS; Steinway Jazz Piano; Tenor Sax 1 KS;
Flugelhorn 1
Jazz Sextet 03 Classic Jazz Drum Kit; Upright Bass 2 KS; Steinway Jazz Piano; Tenor Sax 1 KS;
Tpt 5 KS; Tbone 4 KS
Sax Section KS Alto Sax 1 KS; Alto Sax 2 KS; Tenor Sax 1 KS; Tenor Sax 2 KS; Bari Sax 1 KS
Sax Section Lite Alto Sax 1 Lite; Alto Sax 2 Lite; Tenor Sax 1 Lite; Tenor Sax 2 Lite; Bari Sax 1 Lite
Sax Section Alto Sax 1; Alto Sax 2; Tenor Sax 1; Tenor Sax 2; Bari Sax 1
Trombone Section KS Lite Tbone 1 KS Lite; Tbone 2 KS Lite; Tbone 3 KS Lite; Tbone 4 KS Lite; Bass Tbone KS
Lite
Trombone Section KS Tbone 1 KS; Tbone 2 KS; Tbone 3 KS; Tbone 4 KS; Bass Tbone KS
Trumpet Section KS Lite Tpt 1 KS Lite; Tpt 2 KS Lite; Tpt 3 KS Lite; Tpt 4 KS Lite; Tpt 5 KS Lite
Trumpet Section KS Tpt 1 KS; Tpt 2 KS; Tpt 3 KS; Tpt 4 KS; Tpt 5 KS
Vibraphone Quartet 03 Classic Jazz Drum Kit; Upright Bass 1 KS; Vibraphone KS; Electric Guitar Mellow KS

ADDENDUM TO THE TRUMPETS:

We have included one additional feature: The trumpets now have an additional controller for
adjusting the level of the release effects. This has a knob on the player interface for the trumpets and is
cc29 for automation purposes.

68
User’s Guide to
Garritan Jazz & Big Band

The Garritan Community


Learn, Share Music & Stay up to date

I welcome you to join the Garritan Community.

Owning Garritan Jazz & Big Band gives you much more than a product. One
of the most valuable benefits is membership into the Garritan community of
musicians.

The Garritan Forum is where Garritan users from around the world come
to discuss everything related to orchestration, jazz and big band and topics
related to music and sampling. It’s the perfect way to find the latest news
and announcements, ask questions and share your music made with Garritan
libraries. If you want to browse, share your thoughts, impart knowledge, listen
to demos, learn, and interact with other Garritan library users - this is the place!
You can also communicate privately with other musicians (PM), respond to
polls, participate in real-time chats, read how-to tutorials, and get support and
help from others. There is a wealth of information among the tens of thousands
of posts in the forum and a convenient ‘search’ feature to find what you are
looking for.

The Garritan forum can be accessed at: http://www.garritan.com/forum.html.


There is a special subsection dealing with Jazz and Big Band on the Garritan
forums.

You don’t have to register to browse posts, but


before you can post, you will have to sign up.
Registration is fast, simple and free; so please, join
our community today!

In addition to the official Garritan Forum, there are


other independent Garritan Communities where
you can find valuable information and interact
with other users. I urge you to contribute and be
a part of the Garritan Community where you will
find an indispensable resource for musicians.

69
User’s Guide to
Garritan Jazz & Big Band

Getting Help
The first place to look for a solution to any problem you may be experiencing is this manual. Please read
the manual before contacting support. Next, check the readme files which contain important information
and all last minute changes that haven’t been available when printing this guide. Also, you may find an
answer to your problem using the Kontakt Player’s on-screen help. You can access support by going to the
Kontakt Player About screen, opened by clicking on the NI KONTAKT logo on the player.

Choose the support tab of the About Screen to find a series of buttons directly leading you to the
Native Instruments Online Knowledge Base and to the Online Support front-end. The front-end will
ask you for all information about your hardware and software environment, to better assist you. In your
description, you should include a description of the problem, the steps you have taken to try to remedy
the problem, the specs of your computer, and a description of your software and hardware.

IMPORTANT: For support & authorization for the Native Instruments KONTAKT Player, please contact:
register@native-instruments.com or Native Instruments Tech Support at: (323) 467-2693 (US).

Garritan Jazz and Big Band is a dynamic library that is evolving and growing. Please check the support
area of our website at www.garritan.com for the latest up-to-date information, troubleshooting, FAQs,
helpful hints and tutorials. Another resource is the support forums. On the Forum tab of the About
Screen is a button directly connecting you to the Garritan forum and the Native Instruments User
Forums where you can discuss problems directly with other users and with experts from NI moderating
the forum.

Whenever you encounter problems, you should also check if you have installed the latest update. The
version number of your software is displayed on the first page of the About dialog. Updates are released
regularly to fix known problems and to improve the software. You can find a link to check for the latest
update in the About dialog, in the Readme file or at www.native-instruments.com. Information and
help are also available at the Garritan website.

If you can’t find a solution to your problem by any of the above methods, please email us at support@
garritan.com. The best way to get the help you need is by giving us plenty of detailed information about
the problem you are having. We do ask you to read this guide thoroughly and exhaust the other avenues
of support before contacting us.

REGARDING THIRD PARTY CUSTOMER SERVICE: Please do not call Garritan Libraries
for technical support regarding the Kontakt Player or any other third-party application or
program. All Kontakt support issues are handled primarily by Native Instruments. Please contact
the respective companies for support.

For the Latest… For the very latest news, tutorials, MIDI files, tips and techniques, updates, FAQs, and
more, please visit our website at www.garritan.com.

70
User’s Guide to
Garritan Jazz & Big Band

Acknowledgements
Producing Garritan Jazz & Big Band would not have been possible without the combined
help, talent and support of many extraordinary people. I am grateful to those who have
contributed and would like to thank them all.

This Jazz and Big Band library has been the vision of Tom Hopkins. Tom has played
in jazz bands for over 35 years and this library has been one of his personal goals. Tom
played brass for this library, recorded many of the instrumentalists, and programmed
all of the instruments. Tom has transformed these samples into playable expressive
instruments.

I am extremely grateful for the musicians who have played for this collection. Thanks for
enduring the relentless scales, sore fingers, numb lips and meticulous playing to produce
these samples. Thanks the players: Chuck Israels (upright bass), Rich Cooper (trumpet),
Jim Coile (saxophones and flutes), David Link (saxophones), Jay Easton (saxophones),
Tracy Knoop (clarinet), Curt Berg (trombone), John Leys (bass trombone), Tom Hopkins
(trumpet, flugelhorn, trombone), Ted Enderle (upright and electric basses), Denny Gore
(electric piano), Alan Hashimoto (drums), Tom Bergersen (percussion), Karl Olson (vibes),
Bruce Hamilton (additional percussion), Karl Garrett (acoustic guitar), Ged Brockie (electric
guitar), John Bonica (accordion) and the other musicians who played in this collection.

Thanks to Jeanott Welter for endless hours of tedious sample editing and looping. Thanks
to Jim Bredouw for the use of his Steinway B piano for sampling. Many thanks to Chuck
Israels for his inspiration and consultation throughout the project. And special thanks to
Gary Lindsay for his insightful advice.

Thanks to Mark Simon and David Burnett, for hosting the Garritan Forums on Northern
Sounds to exchange ideas and support one another. I would also like to thank Stephen Croes,
Dean of Music Technology, and Kurt Biederwolf, Chair of the Music Synthesis Department
at Berklee College of Music, and Gary Lindsay, Director of Studio/Jazz Writing at the
University of Miami who were very helpful in discussing many of the problems facing music
students which led to the development of this library as a creative solution for students.

Thanks to Michael Sandberg and James Mireau for graphic design and James Mireau for
the cover art. Thanks to Jeff Hurchalla, David Viens, Sebastien Beaulieu, and Vincent
Trussart at Plogue for the development of Garritan Studio. And thanks to Darcy Argue,
Jeff Beal and David Maddux.

A special thanks to Daniel Haver, Martin Jann, Frank Etling, Julian Ringel and everyone
at Native Instruments for developing the fantastic sample engine that powers Garritan
Jazz & Big Band.
71
User’s Guide to
Garritan Jazz & Big Band

Appendix A: QUICK MIDI CONTROLLER REFERENCE GUIDE


CC # DESCRIPTION USE INSTRUMENTS AFFECTED
1 Modulation Controls the volume/timbre of All “Expressive” sustained instruments. Does
“Expressive” instruments not affect most percussive instruments.
2 Breath Alternate controller for volume/ All “Expressive” sustained instruments. Does
timbre of “Expressive” instruments not affect most percussive instruments.
7 MIDI Volume Turned off by default. Volume All if chosen.
controller cc7 used for static volume
changes (in contrast to modulation
control cc1 which is used for
dynamic volume/timbre changes).
You must activate cc7 in the Kontakt
player options panel.
10 MIDI Pan Turned off by default. Most All if chosen.
instruments in JABB have suggested
“start” positions for panning. If you
wish an instrument to respond to
automated panning adjustments
sent by your controller or sequencer
you must turn this option on in the
Kontakt player options panel.
11 Expression Alternate controller for volume/ All “Expressive” sustained instruments. Does
timbre of “Expressive” instruments not affect most percussive instruments.
12 Air flow noise Turned off by default. Can be used Air flow noise is included with all woodwind
to add breathiness to the sound of an and brass instruments. Also, bellows noise in
instrument. accordion
Fundamental (basses) Strength of fundamental in tone All basses
13 Key click/valve noise Can be used to add mechanical Supplies key click noises in the woodwinds,
noises synchronized to note changes. valve noises in the trumpets/tuba, and finger
noise in basses.
15 Note release effects Turned off by default. Uses value All trumpets.
splits to switch between falloffs,
doits, and kisses.
16 Plunger mute control At “closed” setting by default. Two trumpets and two trombones
17 Vibrato Speed Control Used along with Aftertouch (vibrato Woodwinds, brass, bass, and guitar.
intensity) to control the application
of vibrato.
18 Flutter tongue/growl Roughens tone quality Wind instruments
Attack (basses) Attack envelope speed All basses
19 Pitchbend disable Turned off by default. Switches to All instruments “expressive” instruments that
a layer that does not respond to sustain.
pitchbend. Allows the user to apply
pitchbend to selected overlapping
notes only.
20 Portamento Adds portamento to notes depending All “Expressive” sustained instruments. Used
on interval and controller data during legato/slurred passages which require
added. portamento.
Attack Speed Continuously adjustable attack speed Adjustable attack speed controller on the
(vibraphone only) controller. Adjustable from hard to vibraphone KS patch.
‘bowed’ attacks. Defaults to hard attacks.
Brightness High frequency control Piano
Kick drum level Volume Drum kits
21 Length Controls the length/decay/release Controls the length/release time of most
time of the sample. instruments in JABB.

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User’s Guide to
Garritan Jazz & Big Band

Appendix A: QUICK MIDI CONTROLLER REFERENCE GUIDE


CC # DESCRIPTION USE INSTRUMENTS AFFECTED
Snare drum level Volume Drum kits
22 Variability 1 (VAR 1) Sets random variations in tuning Most wind, and some percussion instruments.
from note to note. Useful for repeated note passages to prevent
the ‘machinegun’ effect.
Tremolo Level Variable tremolo intensity Vibraphone and vintage electric piano. To be
(vibraphone and vintage used with cc23.
electric piano)
23 Variability 2 (VAR 2) Sets random variations in instrument Most wind, and some percussion instruments.
timbre from note to note. Useful for repeated note passages to prevent
the ‘machinegun’ effect.
Tremolo Speed Variable tremolo speed Vibraphone and vintage electric piano. To be
(vibraphone and vintage used with cc22.
electric piano)
24 High Frequency EQ Controls brightness Vibraphones
(vibraphone)
Tom Tom level Volume Drum kits
25 Hi hat level Volume Drum kits
26 Filter level Intensity of EQ Many wind instruments
Mid EQ Intensity of mid EQ Vintage electric piano
Cymbal level Volume Drum kits
27 Filter center frequency Chooses the part of the audio Many wind instruments
spectrum modified by the Tone
Control
Percussion level Volume Drum kits
28 High Frequency Control Intensity of high frequencies Many wind instruments and vintage electric
piano
Attack control Special attack control for the brass Trumpets and trombone
shake layer
64 Tongue/slur and sustain Controls tongue/slur and standard Tongue/slur function for wind instruments;
(standard folders) sustain Standard sustain for keyboards, basses, and
guitars.
68 Tongue/Slur (Notation All wind instruments
folder only)
Aftertouch Vibrato Intensity Controls vibrato intensity All wind instruments
Brush stir direction Controls the direction change in Brush snare drums.
change brush pattern. Defines the rhythmic
character of the stir.
Velocity Velocity Controls “note on” velocity for all Controls the initial attack strength of
instruments in JABB. all “Expressive” mod wheel controlled
instruments in JABB. Note: For all
“Percussive” (keyed, percussion, or non
sustained patches) this controls volume/timbre.
Pitchbend Pitchbend Allows a note’s pitch to be shifted This controller is especially useful for
in a controlled manner (usually to instruments like trombone where note slides
a maximum of two semitones up are common. This controller is used to create
or down). ‘scoops’ or ‘drops’ at the beginning or end of a
note or passage. Can be used with trombone
to simulate slide movements during sustained
notes. Can be used along with cc19 to solve
difficult portamento situations.

73
74
MIDI NOTE GENERAL MIDI CLASSIC JAZZ/
BRUSH DRUM KIT
NOTE # NAME DRUM KITS FUSION DRUM KITS
34 A# Side Stick
35 B Bass Drum 1 Bass Drum 1 Bass Drum 1
36 C Bass Drum 2 Bass Drum 2 Bass Drum 2
37 C# Side Stick/Brush Stir Rim Shot Snare Stir (Aftertouch direction change)
38 D Snare 1 Snare LH Snare LH
39 D# Hand Clap Snare RH Snare RH
40 E Snare 2 Foot Closed Hi Hat Foot Closed Hi Hat
41 F Low Floor Tom Low Floor Tom Low Tom
42 F# Closed Hi Hat Closed Hi Hat LH Closed Hi Hat LH
43 G High Floor Tom Closed Hi Hat RH Closed Hi Hat RH
44 G# Pedal Hi Hat Half Open Hi Hat Half Open Hi Hat
45 A Low Tom Mid Tom Mid Tom
46 A# Open Hi Hat Open Hi Hat Open Hi Hat
47 B Low-mid Tom Hi Hat Crash
48 C High-mid Tom High Tom High Tom
49 C# Crash Cymbal 1 Crash Cymbal 1 Crash Cymbal
50 D High Tom Ride Cymbal 1 Ride Cymbal 1
51 D# Ride Cymbal 1 Ride Cymbal 2 Ride Cymbal 2
Appendix B: DRUM MAPS

52 E Chinese Cymbal Crash Cymbal 2 Sizzle Cymbal


53 F Ride Bell Ride Bell 1 Garbage Can Lid (wire brush)
54 F# Tambourine Ride Bell 2 Garbage Can Lid (brush handle)
55 G Splash Cymbal Ride Cymbal 3 Garbage Can Lid (blastik)
56 G# Cowbell Crash Cymbal 3
57 A Crash Cymbal 2 Sizzle Cymbal 1
Garritan Jazz & Big Band
User’s Guide to
User’s Guide to

MIDI NOTE GENERAL MIDI CLASSIC JAZZ/


BRUSH DRUM KIT
NOTE # NAME DRUM KITS FUSION DRUM KITS
58 A# Vibraslap Stagg Crash Cymbal 4
59 B Ride Cymbal 2 Cracked Ride Cymbal 3
Garritan Jazz & Big Band

60 C High Bongo China Cymbal


61 C# Low Bongo Splash Cymbal
62 D Mute High Bongo Ride Cymbal 4
63 D# Open High Bongo Crash Cymbal 5
64 E Low Conga Sizzle Cymbal 2 (wood tip)
65 F High Timbale Sizzle Cymbal 2 (nylon tip)
66 F# Low Timbale Sizzle Cymbal 2 (mallet)
67 G High Agogo Sizzle Cymbal 2 (finger)
68 G# Low Agogo Sizzle Cymbal 2 (wood tip BS)
69 A Cabassa Cymbal Scrape 1
70 A# Maracas Cymbal Scrape 2
71 B Short Whistle Cymbal Scrape 3
72 C Long Whistle Cymbal Scrape 4
73 C# Short Guiro Cymbal Scrape 5
74 D Long Guiro Garbage Can Lid (stick)
75 D# Claves Garbage Can Lid (mallet)
Appendix B: DRUM MAPS

76 E High Wood Block Garbage Can Lid (hard mallet)


77 F Low Wood Block Garbage Can Lid (rubber mallet)
78 F# Mute Cuica Garbage Can Lid (car keys)
79 G Open Cuica Garbage Can Lid (hand)
80 G# Mute Triangle Radial Saw Blade
81 A Open Triangle Chrome Saw Blade

75
User’s Guide to
Garritan Jazz & Big Band

Appendix C: PERCUSSION MAPS

MIDI NOTE GOURDS, BLOCKS,


DRUMS
NOTE # NAME BELLS, MISC.
36 C Bata Low Open Cabassa Short
37 C# Bata Low Muff Cabassa Long
38 D Bata Low Slap Cabassa Snap
39 D# Bata Mid Open Guira Short 1
40 E Bata Mid Muff Guira Short 2
41 F Bata Mid Slap Guira Long
42 F# Bata High Open Guiro 1 Short 1
43 G Bata High Muff Guiro 1 Short 2
44 G# Bata High Slap Guiro 1 Long
45 A Bongo Low Open Guiro 2 Short 1
46 A# Bongo Low Muff Guiro 2 Short 2
47 B Bongo Low Slap Guiro 2 Long
48 C Bongo High Open Maraccas 1 Short
49 C# Bongo High Muff Maraccas 1 Long
50 D Bongo High Slap Maraccas 2 Short
51 D# Cajone Low Maraccas 2 Long
52 E Cajone Slap Shaker Short 1
53 F Cajone Stick Hit Shaker Short 2
54 F# Conga Low Shaker Short 3
55 G Conga Open Shaker Medium
56 G# Conga Muff Shaker Long
57 A Conga Slap Shekere Low
58 A# Cuica Low Shekere High
59 B Cuica Mid Shekere Short 1
60 C Cuica High Shekere Short 2
61 C# Djembe Open Clave
62 D Djembe Muff Jam Block Low
63 D# Djembe Slap Jam Block High
64 E Pandero Open Wood Block
65 F Pandero Muff Agogo Bell Low Open
66 F# Pandero Slap Agogo Bell Low Mute

76
User’s Guide to
Garritan Jazz & Big Band

Appendix C: PERCUSSION MAPS

MIDI NOTE GOURDS, BLOCKS,


DRUMS
NOTE # NAME BELLS, MISC.
67 G Quinto Open Agogo Bell High Open
68 G# Quinto Muff Agogo Bell High Mute
69 A Quinto Slap Bongo Bell Low Open
70 A# Super Tumba Low Bongo Bell Low Mute
71 B Super Tumba Open Bongo Bell High Open
72 C Super Tumba Muff Bongo Bell High Mute
73 C# Super Tumba Slap Cha Cha Bell Open
74 D Surdu Open Cha Cha Bell Mute
75 D# Surdu Muff Timbale Bell Open
76 E The Box Low Timbale Bell Mute
77 F The Box Mid Castinets
78 F# The Box High Hand Claps
79 G Timbales Low Finger Snaps
80 G# Timbales High Jawbone
81 A Timbales Edge Rainstick 1
82 A# Tumba Low Rainstick 2
83 B Tumba Open Tambourine Short
84 C Tumba Muff Tambourine Long
85 C# Tumba Slap Tambourine Hit
86 D Udu Long Triangle 1 Open
87 D# Udu Short Triangle 1 Mute
88 E Triangle 2 Open
89 F Triangle 2 Mute
90 F# Whistle 1 Short
91 G Whistle 1 Long
92 G# Whistle 2 Short
93 A Whistle 2 Long
94 A# Whistle 3 Short
95 B Whistle 3 Medium
96 C Whistle 3 Long

77
Garritan Jazz and Big Band - Reference Sheet - by Chris Bassett
All WindsALL WINDS
Primary Controls Expressive Controls Tweaking Controls
cc1 (Mod) Volume / Expression Aftertouch Vibrato cc19 Pitch Bend Defeat
cc64 (Sus.) Tongue / Slur cc17 Vibrato Speed cc20 Portamento Control
Velocity Attack / Accentuation cc12 Air Flow Noise cc21 Length Control
Pitch Wheel Bend (+/-2 Semitones) cc13 Key Click / Valve Noise cc22 Var 1 (Intonation)
cc18 Flutter Tongue / Growl cc23 Var 2 (Timbre)

* Breath Noises in top 2 octaves cc26 Tone Quality (Warmth)


of keyboard cc27 Tone Quality (adjust “sweet spot”)

BRASS
Keyswitching (KS Patches)
C = Open D = Straight Mute E = Cup Mute F = Harmon Mute G = Bucket Mute

Brass Shakes Plunger Mute Instruments Trumpet Release (cc15)

cc64 (Values 49-95) Brass Shakes cc16 Plunger Open / Close 0-32 Off
Vel. Trim Volume 33-64 Falloffs (High Range Only)
cc28 Attack Speed Shakes Pitchbend = +/- 6 Semitones 65-95 Doits (High Range Only)
cc20 Portamento Trombone Pitchbend = +/- 6 Semitones 96-127 Kisses (High Bb and Above)

RHYTHM
All Basses Arco Upright Bass Vintage Electric Piano
cc12 Fundamental Intensity Sus. Pedal Legato cc22 Tremolo Level
cc13 Finger Noises cc19 Pitchbend Defeat cc23 Tremolo Speed
cc18 Attack Speed (Sharpness) C1 (KS) Arco cc26 Midrange Intensity
cc20 Portamento D1 (KS) Alternate up / down bow cc28 Brightness
cc21 Length G1 (KS) Playable Tremolo
Vibraphone
cc22 Var 1 (Intonation) Guitars cc20 Attack Speed
cc23 Var 2 (Timbre) Aftertouch Vibrato Intensity cc21 Brightness
cc26 Midrange EQ
cc17 Vibrato Speed cc22 Tremolo Intensity
cc27 Midrange Center Frequency cc20 Portamento cc23 Tremolo Speed
cc28 High Frequency EQ
cc21 Length
All Bass Drums
Electric Bass cc22 Var 1 (Intonation)
C0 (KS) Pluck cc23 Var 2 (Timbre) cc12 Fundamental Strength

D0 (KS) Harmonics C0 (KS) Standard Plucks cc28 Beater Head Slap Strength

C5 - E5 Finger Slide Noises D0 (KS) Harmonics


Brush Kit
C7 - D#8 Slides, Taps. Slaps
Upright Acoustic Bass C#1 Continuous Stir
Sus. Pedal Open Strings Piano Velocity First brush push strength
C5 - E6 Finger Slide Noises cc20 Brightness Aftertouch Stir Direction Change