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A Complete Guide to

Garritan Personal Orchestra® Reason Refill

Directory of NN-XT Instruments in Personal Orchestra


WOODWINDS
Flutes
Flute NV Solo
Flute Plr1
Flute Plr2
Flute Plr3
Flute Section
Flute Solo
Piccolo solo

ÆAlt ÆTRL

Flute NV Solo ALT Flute NV Solo TRL ALT


Flute NV Solo ALT2 Flute NV Solo TRL ALT2
Flute Plr1 ALT Flute NV Solo TRL
Flute Plr1 ALT2 Flute Solo TRL ALT
Flute Plr2 ALT Flute Solo TRL ALT2
Flute Plr2 ALT2 Flute Solo TRL
Flute Plr3 ALT Piccolo Solo TRL ALT
Flute Plr3 ALT2 Piccolo Solo TRL ALT2
Flute Section ALT Piccolo Solo TRL
Flute Section ALT2
Flute Solo ALT
Flute Solo ALT2
Piccolo Solo ALT
Piccolo Solo ALT2

Oboes and English horn


English Horn Solo
Oboe Plr1
Oboe Plr2
Oboe Pl3
Oboe Section
Oboe Solo

ÆALT ÆTRL

English Horn Solo ALT English Horn Solo TRL ALT


English Horn Solo ALT2 English Horn Solo TRL ALT2
Oboe Plr1 ALT English Horn Solo TRL
Oboe Plr1 ALT2 Oboe Solo TRL ALT
Oboe Plr2 ALT Oboe Solo TRL ALT2
Oboe Plr2 ALT2 Oboe Solo TRL
Oboe Plr3 ALT
Oboe Plr3 ALT2
Oboe Section ALT
Oboe Section ALT2
Oboe Solo ALT
Oboe Solo ALT2

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A Guide to
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WOODWINDS
Clarinets
Bass Clarinet Solo
Bb Clarinet Plr1
Bb Clarinet Plr2
Bb Clarinet Plr3
Bb Clarinet Section
Bb Clarinet Solo

ÆALT ÆTRL

Bass Clarinet Solo ALT Bass Clarinet solo TRL ALT


Bass Clarinet Solo ALT2 Bass Clarinet Solo TRL ALT2
Bb Clarinet Plr1 ALT Bass Clarinet Solo TRL
Bb Clarinet Plr1 ALT2 Bb Clarinet Solo TRL ALT
Bb Clarinet Plr2 ALT Bb Clarinet Solo TRL ALT2
Bb Clarinet Plr2 ALT2 Bb Clarinet Solo TRL
Bb Clarinet Plr3 ALT
Bb Clarinet Plr3 ALT2
Bb Clarinet Section ALT
Bb Clarinet Section ALT2
Bb Clarinet Solo ALT
Bb Clarinet Solo ALT2

Bassoons
Bassoon Plr1
Bassoon Plr2
Bassoon Plr3
Bassoon Section
Bassoon solo
Contrabassoon Solo

ÆALT

Bassoon Plr1 ALT


Bassoon Plr1 ALT2
Bassoon Plr2 ALT
Bassoon Plr2 ALT2
Bassoon Plr3 ALT
Bassoon Plr3 ALT2
Bassoon Section ALT
Bassoon Section ALT2
Bassoon Solo ALT
Bassoon Solo ALT2
Contrabassoon Solo ALT
Contrabassoon Solo ALT2

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A Complete Guide to
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BRASS INSTRUMENTS
French Horns
French Horn Plr1
French horn Plr2
French Horn Plr3
French horn section
French Horn Solo

ÆALT ÆTRL

French Horn Plr1 ALT French Horn Solo TRL ALT


French horn Plr1 ALT2 French Horn Solo TRL ALT2
French Horn Plr2 ALT French Horn Solo TRL
French Horn Plr2 ALT2
French horn Plr3 ALT
French Horn Plr3 ALT2
French Horn Section ALT
French Horn Section ALT2
French Horn Solo ALT
French Horn Solo ALT2

Trumpets
Trumpet Plr1
Trumpet Plr2
Trumpet Plr3
Trumpet Section
Trumpet Solo

ÆALT ÆTRL

Trumpet Plr1 ALT Trumpet Solo TRL ALT


Trumpet Plr1 ALT2 Trumpet Solo TRL ALT2
Trumpet Plr2 ALT Trumpet Solo TRL
Trumpet Plr2 ALT2
Trumpet Plr3 ALT
Trumpet Plr3 ALT2
Trumpet Section ALT
Trumpet Section ALT2
Trumpet Solo ALT
Trumpet Solo ALT2

Trombones
Trombone Plr1
Trombone Plr2
Trombone Plr3
Trombone Section
Trombone Solo

ÆALT TRL

Trombone Plr1 ALT Trombone Solo TRL ALT


Trombone Plr1 ALT2 Trombone Solo TRL ALT2
Trombone Plr2 ALT Trombone Solo TRL
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A Guide to
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BRASS INSTRUMENTS
Trombone Plr2 ALT2
Trombone Plr3 ALT
Trombone Plr3 ALT2
Trombone Section ALT
Trombone Section ALT2
Trombone Solo ALT
Trombone Solo ALT2

Tuba
Tuba solo

ÆALT ÆTRL

Tuba Solo ALT Tuba Solo TRL ALT


Tuba Solo ALT2 Tuba Solo TRL ALT2
Tuba Solo TRL

PERCUSSION
Basic Orch Percussion
Bass Drum at C1
Glockenspiel RLL
Glockenspiel RNG
Glockenspiel
Gong Tam Tam Cymbal
Marimab RLL
Marimba RNG
Marimba
Snares at C3
Timpani RLL
Timpani RNG
Timpani Split RLL
Timpani Split RNG
Timpani Split
Triangle
Tubular Bells RLL
Tubular Bells RNG
Tubular Bells
Xylophone RLL
Xylophone RNG
Xylophone

ÆALT

Glockenspiel ALT
Glockenspiel ALT2
Glockenspiel RLL ALT
Glockenspiel RLL ALT2
Glockenspiel RNG ALT
Glockenspiel RNG ALT2
Marimba ALT
Marimba ALT2
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A Complete Guide to
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PERCUSSION
Marimba RLL ALT
Marimba RLL ALT2
Marimba RNG ALT
Marimba RNG ALT2
Timpani ALT
Timpani ALT2
Timpani RLL ALT
Timpani RLL ALT2
Timpani RNG ALT
Timpani RNG ALT2
Timpani Split ALT
Timpani Split ALT2
Timpani Split RLL ALT
Timpani Split RLL ALT2
Timpani Split RNG ALT
Timpani Split RNG ALT2
Tubular Bells ALT
Tubular Bells ALT2
Tubular Bells RLL ALT
Tubular Bells RLL ALT2
Tubular Bells RNG ALT
Tubular Bells RNG ALT2
Xylophone ALT
Xylophone ALT2
Xylophone RLL ALT
Xylophone RLL ALT2
Xylophone RNG ALT
Xylophone RNG ALT2

HARPS
Harp Harmonics RLL
Harp Harmonics RNG
Harp Harmonics
Harp RLL
Harp RNG
Harp

ÆALT

Harp ALT
Harp ALT2
Harp Harmonics ALT
Harp Harmonics ALT2
Harp Harmonics RLL ALT
Harp Harmonics RLL ALT2
Harp Harmonics RNG ALT
Harp Harmonics RNG ALT2
Harp RLL ALT
Harp RLL ALT2
Harp RNG ALT
Harp RNG ALT2
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KEYBOARDS
Harpsichord Double
Harpsichord
Steinway Piano

ÆALT

Harpsichord ALT
Harpsichord ALT2
Harpsichord Double ALT
Harpsichord Double ALT2
Steinway Piano ALT
Steinway Piano ALT2

Pipe Organ

Pipe Organ

ÆALT

Pipe Organ ALT


Pipe Organ ALT2

SOLO STRINGS
Violin
Violin 1 Solo Pizz VEL
Violin 1 solo Sus
Violin 1 solo Tremolo
Violin 2 Solo Pizz VEL
Violin 2 solo Sus
Violin 2 solo Tremolo
Violin Plr1
Violin Plr2
Violin Plr3
Violin Section

ÆALT ÆTRL

Violin 1 Solo Pizz VEL ALT Violin 1 Solo Sus TRL ALT
Violin 1 Solo Pizz VEL ALT2 Violin 1 Solo Sus TRL ALT2
Violin 1 solo Sus ALT Violin 1 Solo Sus TRL
Violin 1 solo Sus ALT2 Violin 2 Solo Sus TRL ALT
Violin 1 solo Tremolo ALT Violin 2 Solo Sus TRL ALT2
Violin 1 solo Tremolo ALT2 Violin 2 Solo Sus TRL
Violin 2 Solo Pizz VEL ALT
Violin 2 Solo Pizz VEL ALT2
Violin 2 solo Sus ALT
Violin 2 solo Sus ALT2
Violin 2 solo Tremolo ALT
Violin 2 solo Tremolo ALT2
Violin Plr1 ALT
Violin Plr1 ALT2
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A Complete Guide to
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SOLO STRINGS
Violin Plr2 ALT
Violin Plr2 ALT2
Violin Plr3 ALT
Violin Plr3 ALT2
Violin Section ALT
Violin Section ALT2

Viola
Viola Plr1
Viola Plr2
Viola Plr3
Viola Section
Viola Solo Pizz VEL
Viola solo Sus
Viola Solo tremolo

ÆALT ÆTRL

Viola Plr1 ALT Viola Solo Sus TRL ALT


Viola Plr1 ALT2 Viola Solo Sus TRL ALT2
Viola Plr2 ALT Viola Solo Sus TRL
Viola Plr2 ALT2
Viola Plr3 ALT
Viola Plr3 ALT2
Viola Section ALT
Viola Section ALT2
Viola Solo Pizz VEL ALT
Viola Solo Pizz VEL ALT2
Viola solo Sus ALT
Viola solo Sus ALT2
Viola Solo tremolo ALT
Viola Solo tremolo ALT2

Cello
Cello Plr1
Cello Plr2
Cello Plr3
Cello Section
Cello Solo Pizz VEL
Cello Solo Sus
Cello Solo Tremolo

ÆALT ÆTRL

Cello Plr1 ALT Cello Solo Sus TRL ALT


Cello Plr1 ALT2 Cello Solo Sus TRL ALT2
Cello Plr2 ALT Cello Solo Sus TRL
Cello Plr2 ALT2
Cello Plr3 ALT
Cello Plr3 ALT2
Cello Section ALT
Cello Section ALT2

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A Guide to
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SOLO STRINGS
Cello Solo Pizz VEL ALT
Cello Solo Pizz VEL ALT2
Cello Solo Sus ALT
Cello Solo Sus ALT2
Cello Solo Tremolo ALT
Cello Solo Tremolo ALT2

Double Bass
Dbl Bass Plr1
Dbl Bass Plr2
Dbl Bass Plr3
Dbl Bass Section
Dbl Bass Solo Pizz VEL
Dbl Bass Solo Sus
Dbl Bass Solo Tremolo

ÆALT ÆTRL

Dbl Bass Plr1 ALT Dbl Bass Solo Sus TRL ALT
Dbl Bass Plr1 ALT2 Dbl Bass Solo Sus TRL ALT2
Dbl Bass Plr2 ALT Dbl Bass Solo Sus TRL
Dbl Bass Plr2 ALT2
Dbl Bass Plr3 ALT
Dbl Bass Plr3 ALT2
Dbl Bass Section ALT
Dbl Bass Section ALT2
Dbl Bass Solo Pizz VEL ALT
Dbl Bass Solo Pizz VEL ALT2
Dbl Bass Solo Sus ALT
Dbl Bass Solo Sus ALT2
Dbl Bass Solo Tremolo ALT
Dbl Bass Solo Tremolo ALT2

SECTION STRINGS
Violins
Violins Arco
Violins Pizzicato VEL
Violins Short VEL
Violins Sus
Violins Tremolo

ÆALT

Violins Arco ALT


Violins Arco ALT2
Violins Pizzicato VEL ALT
Violins Pizzicato VEL ALT2
Violins Short VEL ALT
Violins Short VEL ALT2
Violins Sus ALT
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A Complete Guide to
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SECTION STRINGS
Violins Sus ALT2
Violins Tremolo ALT
Violins Tremolo ALT2
Violas
Violas Arco
Violas Pizzicato VEL
Violas Short VEL
Violas Sus
Violas Tremolo

ÆALT

Violas Arco ALT


Violas Arco ALT2
Violas Pizzicato VEL ALT
Violas Pizzicato VEL ALT2
Violas Short VEL ALT
Violas Short VEL ALT2
Violas Sus ALT
Violas Sus ALT2
Violas Tremolo ALT
Violas Tremolo ALT2

Cellos
Cellos Arco
Cellos Pizzicato VEL
Cellos Short VEL
Cellos Sus
Cellos Tremolo

ÆALT

Cellos Arco ALT


Cellos Arco ALT2
Cellos Pizzicato VEL ALT
Cellos Pizzicato VEL ALT2
Cellos Short VEL ALT
Cellos Short VEL ALT2
Cellos Sus ALT
Cellos Sus ALT2
Cellos Tremolo ALT
Cellos Tremolo ALT2

Basses
Basses Arco
Basses Pizzicato VEL
Basses Short VEL
Basses Sus
Basses Tremolo

ÆALT

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A Guide to
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SECTION STRINGS
Basses Arco ALT
Basses Arco ALT2
Basses Pizzicato VEL ALT
Basses Pizzicato VEL ALT2
Basses Short VEL ALT
Basses Short VEL ALT2
Basses Sus ALT
Basses Sus ALT2
Basses Tremolo ALT
Basses Tremolo ALT2

Full Strings
Full Strgs Arco
Full Strgs Pizzicato VEL
Full Strgs Short VEL
Full Strgs Sus
Full Strgs Tremolo

ÆALT

Full Strgs Arco ALT


Full Strgs Arco ALT2
Full Strgs Pizzicato VEL ALT
Full Strgs Pizzicato VEL ALT2
Full Strgs Short VEL ALT
Full Strgs Short VEL ALT2
Full Strgs Sus ALT
Full Strgs Sus ALT2
Full Strgs Tremolo ALT
Full Strgs Tremolo ALT2

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A Complete Guide to
Garritan Personal Orchestra® Reason Refill

Directory of Combinator Instruments in Personal Orchestra


COMBINATORS
WOODWINDS
Flutes
Flute NV Solo x4
Flute Solo Switch
Flute Solo x4
Flutes 3+1
Piccolo Solo x4

Oboes and English Horn


English horn Solo x4
Oboe Solo x4
Oboes 3+1

Clarinets
Bass Clarinet Solo x4
Bb Clarinet Solo x4
Bb Clarinets 3+1

Bassoons
Bassoon Solo x4
Bassoons 3+1
Contrabassoon Solo x4

BRASS
French Horns
French Horn Solo x4
French Horns 3+1

Trumpets
Trumpet Solo x4
Trumpets 3+1

Trombones
Trombone Solo x4
Trombones 3+1

Tuba
Tuba Solo x4

HARPS
Harp Blender

SOLO STRINGS
Violin
Violin Solo Switch
Violin solo x4
Violins 3+1

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A Guide to
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COMBINATORS
Viola
Viola Solo Switch
Viola solo x4
Viola 3+1

Cello
Cello Solo Switch
Cello solo x4
Cello 3+1

Dbl Bass
Dbl Bass Solo Switch
Dbl Bass solo x4
Dbl Bass 3+1

SECTION STRINGS
Violins
Violins Blender

Violas
Violas Blender

Cellos
Cellos Blender

Basses
Basses Blender

Full Strings
Strings Blender

REVERB COMBINATORS
Reverb A
Reverb B
Reverb C
Reverb D

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A Complete Guide to
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Specific Notes on GPO-Reason Instruments


The majority of GPO-Reason instruments follow the rules and patterns described in the above sections.
However, some instruments implement specific features to take advantage of Reason’s flexibility and
available controllers.

FLUTES
The Solo flute and piccolo instruments use vibrato samples. Increasing Aftertouch, in this case, will
produce a “flutter” effect on these instruments.
The Plr and Section patches, on the other hand, use non-vibrato samples, as would a real flute section.
A special Flute Solo Switch Combinator is provided to allow switching between vibrato, non-vibrato,
and piccolo samples.

HARPSICHORD
The harpsichord responds to the Mod Wheel by mellowing its sound (removing treble) as it is moved
upwards. Aftertouch has no effect on the harpsichord.
A separate NN-XT patch is provided for a phase-free double harpsichord.

PIPE ORGAN
The Aftertouch control on the pipe organ fades in an octaved treble stop for extra brightness in the
sound.
Note that the pipe organ does not respond to Key Velocity in any way.

STEINWAY PIANO
The Steinway Piano responds to the Mod Wheel by mellowing its sound (removing treble) as it is moved
upwards. Aftertouch has no effect on the piano.

SOLO STRINGS
Solo String instruments each include Sustain, Tremolo, and Pizzicato articulations. Their provided
Combinators allow easy switching between these articulations within a single sequencer track.
Increasing Aftertouch on Solo Strings will introduce a small bit of variable pitch and timbre into the
instrument sound, such as to sound richer in a section context.

SECTION STRINGS
Section String patches each include Sustain, Short, Arco, Tremolo, and Pizzicato articulations. Their
provided Combinators allow easy switching between these articulations within a single sequencer track.
“Full Strings” NN-XT patches and a Combinator are provided that pull samples from all of the string
sections in order to give you a continuous range of notes across the keyboard.
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A Guide to
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Advanced Techniques: Optimization and Customization


Since Reason allows you to modify patches to allow you to make the most of its modular environment,
you’ll probably eventually decide that there are some things about GPO-Reason that you’d like to
change to better match your working habits and personal style. Here are some tips on areas you might
want to look into.

OPTIMIZATION
Reason is a highly optimized and efficient music creation system, but there may be times when it can
tax the CPU and memory limits of your computer. This is especially true of simulating large orchestral
groups that can have between 50 and 100 musicians!

In order to alleviate some of this resource strain, try these techniques.

Adjust Engine Buffer Size (Latency)


The Reason audio engine allows you to change its responsiveness. Immediate response requires more
CPU, so if you’re suffering from CPU overload you can always trade off on response time. This is also
known as “increasing your latency”.

In the “Preferences…|Audio” menu, you can raise the “Buffer Size” control to compensate for crackling
and slowdown in the engine. As your sequence is playing, increase the Buffer Size until playback is
smooth once again. As you do this, you’ll see the related “Output Latency” reading (measured in
milliseconds) also increase. This is the time it takes between pressing a key on the keyboard and hearing
the result in Reason.

If latency is too high, then playing in real-time might become difficult or otherwise feel unnatural, but
this can be a quick and easy solution if you are doing most of your work in the piano roll or controller
lanes.

NOTE: If you are operating Reason through ReWire, your other sequencer/host will have the
control over latency settings.

Bypass Mix Effects


While you’re composing, you don’t necessarily need to hear the instruments as they’ll sound in the final
mix, since the actual notes are more important than their sound. Bypassing effects such as reverbs and
EQs can reduce your processing load until it’s time to mix.

Bypass or Remove Combinator FX


Similar to above, each of the brass and woodwind Combinators has an EQ unit for the “Tone” control,
and the choir Combinators use compressors for gain normalization. Using the “Bypass all FX” button
on the Combinator interface can save CPU cycles if you don’t need them while composing.

Furthermore, you could also delete the “Tone” EQ entirely if you don’t plan to use it at all.
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Trim Down Combinator Instrument Variations


Each of the non-reverb Combinators contain several variations of the same instrument to allow you
access to easy selection and automation in your sequences. If you don’t need one or more of these
variations and are running out of available RAM such that your OS is getting slowed down with virtual
memory disk “swapping” or “thrashing”, you can delete the ones you won’t be using.
If you’re not sure, as a half-way step to this you can right-click on the appropriate NN-XT sampler
and select “Initialize Patch”. This will unload all of the samples in the module, but still keep its internal
routing in case you think you might need it later. If that happens, just load a new NN-XT patch into
the module and it will be synced into the Combinator once again.
“Solo x4” Combinators are a likely candidate for trimming. Most often you will want to select only
one or two of the internal variations to work with. Similarly, “Solo Switch” and “Blender” Combinators
contain 4 articulations, or which you might need only 2 or 3. Removing the extras will save quite a bit
of RAM!

Use “Plr” Patches Instead of “Solo”


“Solo” NN-XT patches are chromatically sampled for more realism. If you’re running out of memory,
you could load a “Plr” patch into the same sampler as a place-holder while you’re composing, as it
generally contains one third of the samples of a “Solo” patch.

Reduce Polyphony
To save some more processing power, you can reduce the polyphony of “RNG” patches or other
instruments with long-decay tails. This will be generally less noticeable if the instrument is playing in a
large group that “buries” the tail of the instrument, but might stick out in a solo or sparse context.
Just select all the zones and adjust the “Key Poly” box in the Group edit controls.

Turn Off High Quality Interpolation


Each NN-XT sampler has a switch for “High Quality Interpolation”. This allows for pitch transposition
with less noticeable “artifacts” (slightly perceptible hints of artificiality). However, it does take a little
extra CPU power to manage.
This feature is set “on” by default. Turning it off can save some extra processing cycles. Moreover, this
effect of this feature is less significant on chromatically sampled instruments, so turning it off on “Solo”
instruments will be less noticeable than on “Plr” instruments (which have to stretch the original sample
pitch over a greater range).

CUSTOMIZATION
Feel free to dig into GPO-Reason’s programming to tailor it to your own needs! Here are some ideas for
where to start, but the total possibilities are limited only by your imagination.

Changing Default Secondary Controller


The default secondary controller for GPO-Reason NN-XT patches is Aftertouch (also known as “Mono
Aftertouch” or “Channel Pressure”). However, you also have the capability to change it to Expression
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(MIDI Continuous Controller #11) or Breath (CC #2). This comes in handy if you have a keyboard
without Aftertouch, but allows you to reassign various knobs or sliders.

Global Controls
Each NN-XT module has a series of knobs at the top in the “Global Controls” section. You can
tweak these knobs by hand or even automate them to sculpt your sound. (In fact, this is what many
Combinator knobs utilize internally.)

Polyphony
“Solo” instruments have their Polyphony set to 2, in order to allow some overlap between contiguous
notes. However, you might want to use a chromatically sampled “Solo” patch to play chords with more
samples for variety. To increase the Polyphony to allow this, select all the zones and adjust the “Key Poly”
box in the Group edit controls.

Pitch Range
The range of each programmed instrument is limited to the range of a typical human player. However,
sometimes you might want to go a little bit higher or lower than usual, either to simulate a particularly
gifted musician or for special effect. To do this, open the NN-XT editor, select the sample zone at the
end of the range, and drag the endpoint to the extent that you desire.

Pitch Bend
The pitch bend wheel defaults to 2 semitones for most instruments. You can easily change this by
selecting all zones in an instrument and adjusting the “Pitch Bend Range” box in the editor. Changing
the range to 1 would allow more sensitivity for playing techniques like “scoops”, while increasing to
around 6 would allow glissando effects for trombones and strings.

Reverb Combinators
The internal structure of a Reverb Combinator is based around two RV7000 reverb modules. The
advantage of using them in a Combinator is that they’re processed in parallel (without using two Aux
slots) and you can save your tweaks as a new preset.
Reverb Combinators allow for a great degree of experimentation. You’ll definitely want to try replacing
the settings on the internal RV7000 modules with presets, at first. Audition combinations of short and
long reverb profiles, as well as increasing the Predelay amount (via the Remote Programmer mode,
Reverb page) for just one of the units. In this manner, you can model more “interesting” spaces than
simple rectangular rooms and halls, such as venues with balconies, mezzanines, or side chambers.

Particularly expert users can continue experimenting with all parameters available, adding external
effects, or even attempt routings that use the RV7000’s gate functionality.

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