garritan - jazz & big band manual

User’s Guide to

Garritan Jazz & Big BandCopyright © 2007 Garritan, Corp. All rights reserved

Th is guide written by: Gary Garritan, Chuck Israels, Gary Lindsay and Tom Hopkins

Produced by: Gary Garritan & Tom HopkinsDirector of Programming: Tom Hopkins Software Development: Jeff HurchallaGraphic Design: Michael Sandberg&James MireauCover Design: James MireauManual Layout: Adina CucicovDirector of Editing: Jeannot Welter

Th e 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. Th e sounds presented in Garritan Jazz & Big Band™ are protected by copyright and cannot be distributed, whether modifi ed or unmodifi ed. Th is 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.Th e information contained herein may change without notice and does not represent a commitment on the part of Garritan Corporation.

Garritan Jazz & Big BandGarritan, Corp.

P.O. Box 400, Orcas, WA 98280 USATel: (360) 376-5766

e-mail: [email protected]

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 ContentsGarritan Jazz & Big Band At-a-Glance 5Welcome to Garritan Jazz & Big Band 7License Agreement 8

What You Can Do: 8What You Cannot Do: 8

What Th is Package Includes 9System Requirements & Recommendations: 9Installation Instructions 10

VST, DXi, Audio Units and RTAS Plug-in Installation 10Updates 11

Product Authorization 11Installation and Start 12Launching Service Center: 12Online operation 12Service Center Update 13NI Login 13Creating Your NI user account 14Online Activation Assistant 14Offl ine Activation Assistant 15NI Service Center Options 15Support Information 16

Th e World of Sampling and Software Instruments 17How to Use Jazz and Big Band 17

Using Kontakt2 Player as a Standalone Application 17Basic Setup Information for Stand-alone Mode: 17Using Garritan Jazz and Big Band in a Specifi c Sequencer: 18Using Garritan Jazz and Big Band with a Notation Program 19

How the Kontakt2 Player Works 20Th e Basic Interface 20

What is Jazz? 30Th e Growth of Jazz 31Jazz Arranging Techniques 34Kinds of Jazz 35

Playing the Jazz & Big Band Instruments 36Basic Controls for All Wind Instruments: 36Th e Basic Real-Time Control System: 36Other Controls for All Wind Instruments 39Special Features in Saxophones: 41Special Features in Both Trumpets and Trombones: 42Additional Features in Just the Trumpets: 43Controls for the Rhythm Section 44

Th e Basic Instrument Interface 49Instrument Information Window 49General Controllers 49Instrument Specifi c Controller Knobs 50

Th e Woodwind Instruments 51Th e Brass Instruments 52Th e Rhythm Section 53

Piano and Guitar 53Acoustic Bass 53Drum Kit 53

Notation Version of Jazz & Big Band 54Putting It All Together for a Real-Time Performance 54Building Sections from Individual Instruments 55Directory of Instruments in Garritan Jazz & Big Band 55

Th e Rythm Section Instruments 56Th e Woodwind Instruments 59Th e Brass Instruments 62Multis 68

Th e Garritan Community 69Getting Help 70Acknowledgements 71Appendix A: Quick MIDI Controller Reference Guide 72Appendix B: Drum Maps 74Appendix C: Percussion Maps 76

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User’s Guide to Garritan Jazz & Big Band

Garritan Jazz & Big Band At-a-GlanceTh ank you for choosing Garritan Jazz & Big Band. Th e following list presents some of the outstanding features of the Garritan Jazz and Big Band library:

Th e First Jazz and Big Band Sample Library – Garritan Jazz & Big Band is the fi rst 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 fi ngertips 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 – Th e jazz and big band library contains over 50 instruments including sixteen diff erent 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 – Th e 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. Th is 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 – Th e 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, falloff s, doits, growls and automatic variability are easily accessible for realistic results with minimal eff ort.

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’ fl agship sampler (v.2.2 or higher). Th e entire library can be loaded on a single PC or laptop with suffi cient 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. Th e instruments in this collection can also be used to supplement orchestral sounds.

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Welcome to Garritan Jazz & Big BandNothing quite captures the experience of listening to jazz. Th ere 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 fi rst 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 diffi cult 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 fi ve 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 AgreementPlease 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. Th is 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. Th e 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, fi lm 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:Th e 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. Th e sounds and samples contained herein cannot be edited, modifi ed, 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. Th e 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 fi t 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. Th e 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.

Th e Garritan Jazz and Big Band library may not be returned for any reason other than manufacturing defects. Th e 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 fi t 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 off er 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. Th e user agrees to read the manual before seeking tech support.

Th e 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. Th e 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 Th is Package Includes1 DVD Disc containing the installation for the Garritan Jazz & Big Band Sample Library with the KONTAKT™ documentation and templates.Th e 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. Th ere is a direct correlation between the number of instruments that can be loaded and the amount of available RAM. Th e 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: Th e 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: Th e Kontakt audio engine is designed to make use of the processing power of your computer’s CPU. Th e 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 InstructionsIf this is your fi rst 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:

Check that your computer meets the minimum requirements to run Kontakt Player.Quit all applications.Insert the DVD into the drive.Use the Windows Explorer (PC) or Apple Finder (Mac) to open the installation DVD if does not open automatically. 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. Th e 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. Th is option is located in the Explorer menu View—>Folder Options...on the View tab below Hidden fi les. Optionally, you can set up your host programs so that they all use the same VST plug-ins folder. Th e 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. Th is folder contains the fi les required to operate the software. Th e default path is preferred but you may also choose another folder. If you do not choose a diff erent program path during installation, links to Kontakt2 Player and a ReadMe fi le 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. Th e 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. Th erefore you can use the library on both a laptop and a desktop, or on two separate computers.

Th e Update Manager provides access to the latest updates, hotfi xes and more for your products. You can select the fi les 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:Th e NI Service Center can be started from the following locations:

Splash screen from your Garritan/ Native Instruments product which is in 30-days modeFrom the Help menu of the Garritan/Native Instruments productPC only: In the Windows start menuFrom 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

Th is section explains the operation of the NI Service Center if your com puter has an internet connection. Read on in chapter “Offl ine Operation” if your computer has no internet

connection.

Checking Internet ConnectionNI Service Center checks for an existing Internet connection fi rst. 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 fi rewall as soon as NI Service Center tries to connect to the internet. Th is is normal and good protection of your computer. Please allow NI Service Center to pass the fi rewall in order to proceed. We recommend to “always allow” the internet connection of NI Service Center, that way you do not have to confi rm 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 off ers 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. Th erefore 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.Offl ine 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 “Offl ine 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. Th e settings in Service Center are the same as any web browser. You can easily copy them from the browsers proxy settings. Th e 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 fi elds 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 au tomatically and a download procedure will be initiated. Th e 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. Th is can be done easily by clicking on the Next Button within the appearing dialogue.

NI LOGIN

Login page: Th is 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 profi le. 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

Th is 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.

Th e registration view asks for your user name, your full e-mail address and your full name and address. Th ese 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. Confi rm 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 confi dentially. It will be used for registration purposes only and not be passed on to third parties.

ONLINE ACTIVATION ASSISTANT Th e 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. Th e 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 fi rst time its serial number

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is allocated to your username in our registration database and you gain access to all product-specifi c 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 “Offl ine mode - Continue without connection to the internet”. Th is message appears if no internet connection has been found. Th ese are the steps to complete an Offl ine Activation:

Choose Offl ine mode when there is no internet connection.Press the Export button to save the Activation Request File (HTML fi le) on a portable medium (e.g. USB stick, CD, etc)Transfer the Activation Request File to a computer with internet con nection.Double click to open the HTML fi le 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 “Offl ine Activation Assistant” in NI Service Center and click the Import button to load the Activation Return File.

NI SERVICE CENTER OPTIONS

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

Update Manager - Th e 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. Th e 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 diff erent updates and click Next. Th e 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 fi rst page.

PLEASE NOTE: Th e 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 fi le has been downloaded the download status is printed in green letters. By pressing ‘Next’ you’ll be forwarded to the Main Menu.

Product Overview - Th is 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 con tacting 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 - Th e 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 fi rst time. However, you may choose another language on the settings page. A click on the “Choose your language” link displays the languages currently off ered.

SUPPORT INFORMATION

Th is 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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Th e World of Sampling and Software InstrumentsGarritan 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 eff ectively 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 BandOnce installed and authorized, it’s time to get started with Jazz and Big Band. Th ere 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 Th e 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 confi gure 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 fi les with the Kontakt2 Player.

BASIC SETUP INFORMATION FOR STAND-ALONE MODE:To use the Standalone version you have to confi gure the Audio and MIDI settings in the Kontakt2 Player Setup dialog box (found in the File menu).

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Soundcard TabInterface: 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 defi ne 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 defi ne 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: Th is 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 fi les 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.

Th e 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. Th ere 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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Th ere are four major plug-in standards:

Plug-in Standard Description Windows MacVST Th e 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 other sequencers.

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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 currently used by Cakewalk Sonar, FL Studio, and Sony Vegas

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Audio Units Th e 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 Digital Performer 4.11+

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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 audio and post production communities.

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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 specifi cally for notation. For the fi rst 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. Th e Notation version of GPO is very similar to the Standard version but there are important diff erences 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 specifi c soundsets for GPO. Th ere are also specifi c notation plug-ins designed to optimize use with Garritan Jazz and Big Band.

Th ere 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. Th e 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 diff erent sequencers and notation programs.

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How the Kontakt2 Player Works

THE BASIC INTERFACE

Th e Kontakt2 Player allows you to load and customize the Garritan Jazz and Big Band sounds to be used for playback. Th e Kontakt2 Player consists of several main parts: the Browser, the Main Control Panel, the Tabs (to access specialized screens) and the specifi c controls for the library. Th is 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. Th e 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

Th e Libraries tab shows the libraries that can be played in the Kontakt2 Player. For each library, there are Instruments, Multis, and Info menu. Th ese 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.

Th e 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. Th ere 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 specifi cally 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. Th is 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

Th e 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

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

Th e 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:

Th e 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.

Th ere 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 eff ects.Each fader, output or aux return, has four eff ect insert points. Th e 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 Eff ect: To edit an insert eff ect, click on it. Th en click on this button to open and close the edit section for that eff ect. To delete an eff ect, click on the eff ect strip that includes the parameters (not the module in the slot); the eff ect strip becomes outlined in orange. Th en, press the computer keyboard’s Delete key.Reset Out Map: Th is 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. (Th ese output mappings are saved to the Kontakt2 Player application directory inside the Defaults folder.)

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

Confi g:

Th is is where you confi gure the output for a number of channels and channel assignments. When you click on a channel’s Confi g button, a dialog box appears with several fi elds. 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 fi eld, 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

Th e 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. Th is 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.

Th e tempo knob sets the tempo for tempo-synched eff ects. If Kontakt2 Player is used within a host program, this displays the host’s tempo. Th e default is 120.00 BPM. Th ere 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 fi eld 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. Th e light below the On button fl ashes with the tempo, and the control varies the metronome volume.

Th e 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

Th e 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 fi le from the desktop.

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

Th ere is an option to save the patch with absolute sample paths enabled or disabled. When you save with absolute paths enabled, the patch fi le 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. Th is 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 fi nd 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 fi les, a relative path will read something like “go up one level in the folder hierarchy and you’ll fi nd 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 fi nd 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. Th e instruments cannot be used by a user who does not own the same library.

Options

Th e Options menu is where you determine overall Kontakt2 Player preferences. Clicking on this button opens the Options window, which has fi ve subcategories.

TAB 1: INTERFACE - Here you make basic adjustments to Kontakt2 Player’s layout of Kontakt and functionality.

Small, Medium & Big Size: Th e View menu lets you choose one of three sizes for Kontakt2 Player: Small, Mid, and Big. Th e edit boxes let you specify the size, in pixels, for the size. Th e width and height have separate fi elds; to change a fi eld, double-click on it and enter the new value.

Note: New values will take eff ect 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 aff ect Kontakt2 Player but have no eff ect 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: Th is 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: Th is button shades keys on the “virtual master keyboard” (along the lower part of the window) to indicate mapping and keyswitching.

Auto-refresh Browser: Th is 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: Th is drop-down list allows setting the font size bigger for increased legibility, or smaller to fi t more items on screen.

TAB 2: AUDIO ENGINE - Th ese settings aff ect Kontakt2 Player’s audio engine.

Default Volume for New Instruments and Volume Reset: Choose between –6dB and 0dB.

CPU Overload Protection: Th is 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.

Offl ine Interpolation Quality: Th e 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 signifi cant 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: Th is 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: Th is specifi es 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: Th is alters the sorting algorithm of the Browser to show fi les 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: Th is 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 fi rst 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: Th is forces the engine to use DFD streaming even for old patches that were not originally saved with it.

TAB 5: SEARCH/DB -Th is 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. Th us, 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. Th e Instrument purge is handy if you’ve fi nished 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

Th e 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

Th ese are located in the upper right section of the Main Control Panel. Clockwise from upper left, these show the following.

Polyphony: Th e amount of polyphony being used. Th e fi rst 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. Th is fi gure will be much higher if DFD is not being used.

Minimized Player View

Th e 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). Th is 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. Th e About screen contains the specifi c 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

Th e 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. Th ere are a few buttons in the upper right hand corner that allow you to work with the rack.

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

Instrument views

PERFORMANCE VIEWTh e performance view shows a custom panel which allows you to alter specifi c 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. Th ere are controls for tuning, volume, pitchbend range, portamento, variability, and other controls. Th ese will be discussed in a later section of this manual.

MINIMIZED AND MAXIMIZED VIEWTh e instrument minimize and maximize buttons allow you to instantly collapse or expand every instrument in the rack to its minimized or maximized view, respectively. Th e maximized view, as shown above, is useful when editing an instrument and accessing its panel. Th e 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. Th e 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:

Kill any (the algorithm decides which is the best one to steal); Kill Oldest (oldest note still sounding); Kill Newest (most recently played note); Kill Highest (highest-pitched note); 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. Th is may cause the number of voices to temporarily exceed the maximum amount of polyphony specifi ed.

Key Switch Default Key: Th is is the fi rst 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: Th is 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. Th e 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 fi eld to enter a note from your computer keyboard.

Velocity Range: Th is 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. Th e range cannot go below 1, or above 127. Double-click a value fi eld to enter a value from your computer keyboard.

DFD & Load Tab

DFD PRELOAD BUFFER SIZE: Sets the amount of RAM dedicated to each preload buff er when using DFD. Th is 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: Th is drop-down menu determines how Kontakt2 Player responds to MIDI Controller #64, which defaults to diff erent choices depending upon the type of instrument. Here are your options.

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 ).Sustain Pedal without Controller: Kontakt2 Player will recognize only a switched controller. (e.g. Piano)Controller Only: Kontakt2 Player will recognize only a continuous controller. (e.g. Saxophone)

Accept All Notes Off /All Sounds Off : Th is option will fi lter All Notes Off and All Sounds Off messages, which some older controllers send by default.

Accept Standard Controllers for Volume and Pan: Th is 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. Th is 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 diff erent 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. Th e 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. Th e players typically play solos they make up on the spot. Th is 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. Th e simplicity will fool you.

It is in the act of spontaneous creation where we truly fi nd Jazz, and the listener plays an important role and experiences what is being expressed. Th ere is a personal connection with the musing that is unlike other forms of music. Jazz invites the listener into a relationship with the players. Th e 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 JAZZby Chuck Israels

In the late 19th Century USA, the popularity of brass bands, like John Philip Sousa’s, made trumpets, trombones, fl utes, 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 infl ections 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. Th e situation in the shorter history of jazz was somewhat diff erent. Individual nuances of timbre, attack, and pitch infl ection 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. Th ere 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. Th e situation is not all that diff erent 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 fi rst jazz guitarist to fi nd 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.

Th e 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.

Th e 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. Th at foreground may consist of an improvisation played by an individual instrumentalist, a singer, or a combination of instruments in a written passage. Th e rhythm section instruments have a wonderful eff ect on the music, but it’s also useful to leave them out in some passages for contrast and for the dramatic propulsive eff ect of their re-entry.

Th e history of the organization of these instrumental sounds into effi cacious combinations is full of change and development, from early New Orleans style polyphonic ensembles, to the modern wind ensemble sounds of Gil Evans’ music. Th ere 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.

Th e 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. Th ere 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. Th e 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 fl at below middle C, to F, 2 1/2 octaves above. Th is transposing trick allows a saxophone player to switch instruments without the necessity of learning new fi ngering, 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. Th e 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. Th e high range of the baritone, somewhat underused in the standard repertoire, can have a stentorian, singing quality that makes an eff ective solo voice and, incidentally, blends well with the French Horn. When combining saxophones in unison with brass instruments, the most eff ective combinations occur when the timbres are recognizably diff erent. 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. Th e trumpet range starts on E below middle C (written F#) and extends comfortably 2 ½ octaves to a high B

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fl at (written C above the staff ). Th is 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. Th e trombone has a similar range, starting on E below the bass clef staff and reaching the high B fl at 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. Th ere 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 fl at (a diminished 5th lower), but the pedal notes can be eff ective, especially in a three or four part unison. (B fl at, A, and A fl at are all available, but the tradition is to make special use of the B fl at.) 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.

Th e 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 eff ect 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. Th e electric bass guitar (or amplifi ed string bass) is a fi ne choice for music largely devoid of dynamic and textural nuance, and there is some fi ne 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 eff ect of sounding low at the bottom of their ranges, and high at the top of their ranges, so that middle C on the fl ute 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.

Th is is only a quick overview of what’s available to the user of this sample library. Th ere are many fi ne arranging and orchestration books available where one can fi nd 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 TECHNIQUESby Gary Lindsay

Th e road from orchestrator to jazz arranger may be navigated more easily if you have the right tools. Th e most fundamental tool, “jazz concept,” is developed through listening to jazz arrangers and composers, and defi ning the roles of members of a jazz ensemble. Th e 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.

Th e 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 diff erently according to the style of music, i.e., swing, Latin, funk, etc. Th e 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. Th e drummer, usually using all four limbs, provides rhythmic pulse to the arrangement as defi ned 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. Th e 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. Th ese 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 LindsayMiami, FLwww.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. Th is 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, Th elonious 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 InstrumentsGarritan 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 off ers an easy, intuitive and standardized control system to enable you to play and shape many articulations in real time. Th e controls are streamlined so you can quickly get comfortable with your sounds and focus on making great music. Th e 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. Th is chapter introduces you to the performance controllers that off er you a wide range of possibilities for musical expression.

BASIC CONTROLS FOR ALL WIND INSTRUMENTS:

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 fl ow noise, keyclicks, tone quality, fl utter tongue/growl, falloff s, 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.

IMPORTANT! Make sure you always move the Mod Wheel up in order to hear volume. Record a nudge of the Mod Wheel at the beginning of every MIDI sequence in order to start with the correct initial volume.

Note VelocityControls Attacks and

Accentuation

Key SwitchingChange brass mutes

and some articulationsIn Real-Time

Sustain Pedal (cc64)For tongue/slur

articulations

Mod Wheel (cc1)Controls Volume

& Expression

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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. Th e 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. Th e 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 ff f ) 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 fl ow of a piece of music. Th ere are many types of accents: strong accents, normal accents, staccato accents, to name a few. Th e 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.” Th is 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 fl ow 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. Th e 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. Th e 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. Th is 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 eff ect. Th e result is a phrase that more closely emulates the sound of the slur.

NOTE: Th e Kontakt Player defaults automatically to the correct pedal mode for the particular instrument type (e.g. wind instruments default to pedal mode 3.) Th e 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. Th eir function names are sometimes abbreviated.

Pitch Bend Wheel: Th is 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 eff ects, 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: Th is control is related to Pitch bend above and will allow you to slide from note to note. Th is is particularly helpful with some instruments, such as the trombone. Th ere 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 specifi c 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 eff ects (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: Th ere are two controllers that aff ect 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 fl exible and realistic fashion. Th e 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. Th is 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. Th is sound is tied to the amplitude portion of the Vibrato control so that the air fl ow will pulsate in synchronization with the speed of the Vibrato. Th e 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 fl utter tongue or “growl” eff ect. Th e default setting is “off .”

Length Control: Th e 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. Th is 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: Th ese controls automatically introduce random variability from note to note. Th ere 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. Th e combination of these controls can help the user avoid the dreaded “machine gun” eff ect 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 modifi ed to a fi xed value between notes to aff ect 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. Th ere are a variety of breath types mapped to the top two octaves of the keyboard. Th ey include quick “catch” breaths and more leisurely slow breaths to be applied to diff erent situations. Th ese use velocity to control volume.

Mono Mode in Horns: All horns are programmed to be monophonic-only instruments. Th ey 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, fl ute, clarinet, and soprano sax without the need to load separate instruments into separate tracks. Th is 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 diff erent mute patches on the fl y without having to load multiple instruments. Th ese keyswitch instruments are identifi ed 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 fi rst 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. Th e 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 TIPSAlways 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 diff erences 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. Th e 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: Th ere are four instruments in the library (two trumpets and two trombones) that use fi ltering to simulate plunger mute eff ects. cc16 controls the “open/close” action of the mute. Default load is “open” (value 127.) Th is is another feature where a detailed explanation will be supplied in the User’s Guide.

ADDITIONAL FEATURES IN JUST THE TRUMPETS:

Release Eff ects: Trumpets in a Jazz context often release notes in unusual ways. Th e three most common are: “Falloff s,” “Doits,” and “Kisses.” In Jazz and Big Band these eff ects can be chosen with cc15. Th ey are switched as follows:

Value 0-32 off Value 33-64 Falloff sValue 65-95 Doits

Value 96-127 Kisses

Th e Falloff s and Doits apply to a 2 octave area of the trumpet range. Th e Kisses apply to only the high concert Bb and above. Notes that lie outside the specifi ed range will give no eff ects. Th is is not a malfunction. See the chart for range information.

Th e strength of the release eff ects can be controlled with cc29. Trumpets load with a default value of “60.”

NOTE: Th e above features apply to the trumpets but similar eff ects can apply to the trombones as well. Since trombones usually accomplish falloff and doit-like eff ects 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: Th e order of brass instruments in JABB (Trumpet 1, Trumpet 2, etc.) is of no particular signifi cance. Th e 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 diff erent from the others. Sections are best constructed with a combination of diff erent trumpets rather than multiple instances of the same trumpet. Th is will help avoid phasing and other undesirable eff ects.

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CONTROLS FOR THE RHYTHM SECTION

BASSES

Th e 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 volumePitchbend +/-2 semitones default settingSustain pedal standard sustain

cc12 Fundamental intensity (strength of the “bottom end” of the instrument sound)cc13 Intensity of fi nger noises like clicks and snaps – velocity sensitivecc18 Attack speed (aff ects 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)

Special mapping: C5-E5fi nger slide noises can be inserted using notes beyond the upper range of the instrument

Additional controllers for the arco upright bass:

Mod wheel Volume/timbreVelocity Attack strengthSustain pedal legatocc19 Pitchbend defeatKey switches: C-1 Arco

D-1 Automatically alternating up and down bowsG-1 Playable tremolos

Additional controller for the electric basses:

Key switches: C0 standard plucksD0 harmonics

Special mapping: C5-E5 fi nger slide noises

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KEYBOARDS

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

Th e 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 diff erent mixing situations. Th e pianos use the following controllers:

Velocity Volume/timbreSustain pedal (cc64) Standard sustaincc20 Brightnesscc21 Release LengthPitchbend range “0” default setting

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

Velocity Volume/timbreSustain pedal (cc64) Standard sustainPitchbend range “0” default settingcc22 Tremolo levelcc23 Tremolo speedcc26 Midrange intensitycc28 Brightness

VIBRAPHONES

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

Velocity Volume/timbreSustain pedal (cc64) Standard sustainPitchbend range “0” default settingcc20 Attack speedcc21 Brightnesscc22 Tremolo intensitycc23 Tremolo speed

GUITARS

Th ere are two guitars: acoustic and electric. Th e acoustic guitar is a 10 string model that is recorded in stereo. Th e 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/timbreSustain pedal (cc64) Standard sustainPitchbend +/-2 semitones default settingAftertouch Vibrato intensitycc13 Finger noise intensitycc17 Vibrato speedcc20 Portamentocc21 Lengthcc22 VAR 1cc23 VAR 2Keyswitches: C0 standard plucks

D0 harmonicsSpecial 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

Th e drums are recorded “in place” in true stereo using an ORTF microphone arrangement for all instruments except the bass drum. Th ere are three distinctly diff erent drum kits included, with specifi c purposes for each. Th ere 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 diffi cult to accomplish with previous libraries.

Th ere 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: Th e same Cymbal fi les are duplicated in each of the drum folders for user convenience. Keep in mind that all Cymbal fi les are nevertheless identical. Th e cymbal fi les contain a wide variety of cymbals choices for many possible uses.

NOTE: Th e 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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Th ere are three General MIDI kits: One for Classic Jazz, one for Fusion, and one for brushwork. Th e layout for the fi rst two kits follows the General MIDI specifi cations with one exception: Th e snare drum on MIDI note 40 (E1) is an acoustic, not an electric, snare. Th e brush kit contains one exception as well: MIDI note 37 (C#1;) it has the brush stir sound assigned to it. Th e three General MIDI kits have identical percussion samples, only the bass drum, snare, toms, and hi hat diff er. Th e 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.

Th e 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 semitonesNote A0 used to “choke” cymbalsLevel knobs volume control of the various parts of the kit (kick, snare, toms,

hihat, cymbals, and percussion, when present)

Th e Brush Drum Kit: Th is is a special case. We think you will fi nd the brush drum kit one of the most enjoyable instruments in the Jazz and Big Band library. It has some very intuitive and fl exible features. Most of the previous attempts to sample brush drum kits have relied on recording the characteristic snare drum “stirs” at a variety of diff erent 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. Th e brush drum kit in Jazz and Big Band is completely diff erent. Th e snare drum stirs are actually playable at any tempo and you will fi nd playing the stirs easy and intuitive (not to mention FUN.) Th is 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 soundVelocity strength of the fi rst brush pushAftertouch change of stir directionNote A0 used to “choke” cymbalsLevel 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. Th e strength of the initial push of the brush stir is directly related to how hard the key is struck (velocity.) Th e stir will continue as long as the key is held but one of the most important characteristics of the brush stir is the fi gure 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 briefl y pressing harder on the held C#1. Press just long enough to simulate the direction change and then

48


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 modifi ed 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. Th ere 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 specifi ed types can be combined without mapping confl icts 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 diff erent 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. Th e departure aff ects MIDI note C#1. Th e C#1 is the brush stir sound.

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

1. INSTRUMENT INFORMATION WINDOW

Th is 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

Th ese 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 fi ne gradation adjustments of sliders; use Shift+vertical drag for fi ne gradation adjustments of knobs.

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3. INSTRUMENT SPECIFIC CONTROLLER KNOBS

Th e number of available instrument-specifi c 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. Th ese knobs load with default settings. Th e default can be changed by modifying the knob setting and resaving the instrument.

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

Porta = portamentoLength = note release and decay VAR1 = random variability of tuningVAR2 = random variability of timbreFiltLv = fi lter level (tone control gain)Filtfq = fi lter frequency (tone control center frequency)VibSpd = vibrato speedModWhl = mod wheelAirNs = air fl ow noiseKeyNs = key click noiseValvNs = valve noiseFingNs = fi nger noiseFluttr = fl utter tongueGrowl = throat growlPlungr = plunger open and close

••••••

•••••••••

RelLev = trumpet release eff ects levelBellow = accordion bellows noiseBright = tonal brightnessAttack = attack envelope speedRelease = release envelope speedFund = strength of fundamentalTrmLev = tremolo levelTrmSpd = tremolo speedMidEQ = midrange EQHFEQ = high frequency EQKick = kick drum levelSnare = snare drum level Toms = tom tom drum levelHihat = hi hat levelCymb = cymbals levelPerc = percussion level

••••••••••••••••

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Th e Woodwind InstrumentsTh e Woodwind section consists of several varieties of instruments, each with its own unique sound. Th ese instruments include varieties of fl utes, clarinets, and saxophones.

PITCH RANGES WOODWIND INSTRUMENTS IN JABB

Th e chart below shows some of the typical ranges of the individual woodwind instruments as they correspond to a piano keyboard. Th ese 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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Th e Brass Instruments Th e 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. Th e length of the tubing is modifi ed by valves that re-route the air fl ow as part of the process to play diff erent pitches. Th e vibrating lips of the player have the same function as the reeds in the saxophones and clarinets.

PITCH RANGES BRASS INSTRUMENTS IN JABB

Th e charts below show the typical ranges of the individual brass instruments as they correspond to a piano keyboard. Th ese 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 diffi culty 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.

Th e trumpets have additional release eff ects that only apply to certain portions of the range of the instruments. Th e characteristic release “kisses” only occur on the highest notes (generally, above the high C (concert Bb.) “Falloff s” and “Doits” are restricted to a two octave range. “Falloff s” 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. Th e player creates a rapidly ascending eff ect through the harmonic series, often combined with a “half valve” technique to smooth the ascent.

Trombones typically use the slide for similar eff ects, especially the falloff s, 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 eff ects are handled with pitchbend data. Tuba is only available in the Open horn, no mutes. It does not off er falloff s, doits, or kisses. See the charts below for details on trumpet and trombone ranges for open, muted, and release eff ects.

Trumpets

Trombones

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Bass Trombone

Tuba

Th e Rhythm Section A good rhythm section is the backbone of a Jazz band. Th e rhythm section usually consists of bass, drums, piano and guitar. Th ey play diff erent roles than the other instruments of a jazz band. Th e rhythm section will maintain a steady rhythm or tempo, establish the style and feel of the piece and defi ne the harmonic framework of the music.

PIANO AND GUITAR

Th e 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-fl y from charts or chord symbols. With piano, unlike classical music, the pedal is not often used, except for special eff ects.

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 diff erent from orchestral playing. Th e 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

Th e drummer in a jazz band establishes and maintains beat and tempo of the music. Th e 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. Th e 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 BandTh e Jazz & Big Band Library contains a separate Notation folder with instruments that are programmed with important diff erences 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 diff erentiate them from the standard instruments.

Th e biggest general diff erence: All instruments in the notation version use the Kontakt Player’s standard sustain pedal mode. Most of the diff erences in programming are a consequence of this fundamental diff erence in pedal modes. Th e programming diff erences are:

TONGUE/SLUR – controlled by cc68 rather than cc64. Th is diff erence 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: Th e 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 PerformanceTh e 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 fi ne 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 diff erent tasks simultaneously requires some coordination. Th e key is to start simple and to realize that you do not have to do it perfectly the fi rst time. Th e best way to learn is to practice playing just the notes with one hand. Learn the fi ngerings 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. Th en add the sustain pedal for legato phrasing. Soon you’ll develop coordination, and by combining the diff erent 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 InstrumentsWith Garritan Jazz & Big Band, you can build instrumental sections, one instrument at a time, exactly the way you want. Th is 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 diff erent 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 BandTh e following directory gives the name and a brief description of the Garritan Jazz & Big Band instrument sounds contained in Garritan Jazz & Big Band. Th ere is also a chart of the available controllers for each instrument.

MW Mod Wheel Expression ControlVel Note Velocity for Accents and AttackVel (vol) Note Velocity for Volume controlTng/Slr Sustain Pedal tongue/slur controlSus (sus) Sustain Pedal for normal sustain controlAF Air Flow or bellows noiseKC Keyclick, valve, or fi nger noisesRFX Release eff ects such as falloff s, doits and kissesVib VibratoFltr/Grl Flutter tongue/ Growl eff ectPBd Pitchbend disablePort Portamento controlLgth Length controlVAR 1 Automatic Variability of intonationVAR 2 Automatic Variability of timbreTQ Tone Quality adjustmentTrm TremoloBrth Breath soundsSk ShakesBrsh Brush stirsPlgr Plunger muteKS Key SwitchingKC key “chokeLev 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 INSTRUMENTSnki name: Description: Controls:

01 Brush Drum Kit Wire brushes, snare #1; combines bass drum, snare, toms, hi hats, and cymbals into a single instrument.

Vel (vol); Brsh; VAR 1; VAR 2; KC; Lev

02 Brush Drum Kit Wire brushes, snare #2; combines bass drum, snare, toms, hi hats, and cymbals into a single instrument.

Vel (vol); Brsh; VAR 1; 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 bottom.

Vel (vol); VAR 1; 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” fl oor tom, 9 x 13” rack tom, 8 x 12” rack tom; Remo coated heads.


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 mapping on all notes.

Vel (vol); VAR 1; VAR 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 garbage can lids and saw blades. See Appendix B.

Vel (vol); VAR 1; VAR 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 Snare

Smaller higher pitched snare hits. Vel (vol); VAR 1; VAR 2

Sgl-layr-hd Snare Hits on the classic jazz kit snare drum; Ludwig 5 x 14” snare with Remo Renaissance Diplomat head.


Sgl-layr-hd Toms Hits on the classic kit toms; 16 x 16” Gretsch fl oor tom, 9 x 13” Gretsch rack tom, 8 x 12” Gretsch rack tom, Remo coated heads.


04 Fusion Drum Kit Double Layer heads for snare, toms, and kick. Does not use General MIDI mapping on all notes.


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 garbage can lids and saw blades. See Appendix B.

Vel (vol); VAR 1; VAR 2; KC

Dbl-layr-hd Bass Drum Bass drum hits from the 14 x 22” Gretsch with various heads and pillow muffl es.


Dbl-layr-hd Piccolo Snare

Smaller higher pitched snare hits. Vel (vol); VAR 1; 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” fl oor tom, 9 x 13” rack tom, 8 x 12” rack tom; Remo Pinstripe heads.


GM Classic Jazz Drum Kit

General MIDI layout using Classic Jazz Kit sounds in the fi rst octave and a half.


GM Classic Jazz Drum Kit Lite

Uses less memory than the full version Vel (vol); VAR 1; VAR 2; KC; Lev

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GM Fusion Drum Kit Lite


GM(mod) Brush Drum Kit

General MIDI layout using Brush Drum Kit sounds in the fi rst octave and a half


GM(mod) Brush Drum Kit Lite


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 played with the fi ngers.


Cajones Cajónes is a wooden hollow box-like instrument used in Andean, Cuban, and Flamenco music.


Conga Th e most important hand drum in Latin music. A tall narrow single-headed drum usually grouped in sets of varying sizes.


Cuica A Brazilian friction drum. Sound is produced by rubbing a small stick on the drum’s inside membrane.


Djembe A goat skin covered drum shaped like a large goblet and played with bare hands.


Pandeiro A small hand-held Brazilian instrument consisting of a round wooden frame, with six pairs of metal discs fi t along the sides.


Quinto A smaller conga drum primarily used for soloing. Vel (vol); VAR 1; VAR 2

Super Tumba Th e largest of the conga drums. Vel (vol); VAR 1; VAR 2

Surdu Large cylindrical drums with two heads typically played with a large mallet while the free hand muffl es the drum.


Th e 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 metal stand and played with wooden sticks.


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 qualities which range from subtle bass tones to tabla-like tones.


Cabassa An instrument consisting of loops of steel ball chains wrapped around a wide cylinder that produces rhythmic scraping sounds.


Guira An instrument made out of metal that is cylindrical in shape with many small round indentations.


Guiro A Latin percussion instrument made of a hollow gourd with a grooved or serrated surface, played by scraping with a stick.


Maracas A Latin percussion instrument consisting of a hollow-gourd rattle containing pebbles or beans and often played in pairs.


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 attached to it


Clave A percussion instrument, consisting of a pair of short, thick wooden dowels hit together to produce a high-pitched sound.


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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Agogo Bells A multi-chambered steel instrument that is beaten like a cow bell and frequently heard in samba and salsa music.


Bongo Bells A large handheld bell also called a campana. Vel (vol); VAR 1; VAR 2

Cha Cha Bells Th e small bell often mounted on the timbales. Typically associated with Cha-Cha and Salsa style music.


Timbale Bell Oblong bells specially designed to be mounted on your timbales. Hand tuned from Middle C to the 4th an octave above.


Castinets A pair of hollow pieces of wood usually held between the thumb and fi ngers that produce a clicking sound.


Handclaps - Fingersnaps

Th e clapping together of the hands and the snapping of fi ngers. Vel (vol); VAR 1; VAR 2

Jawbone Th e jawbone of an animal used as a percussion instrument that when struck, the teeth rattle.


Rainstick A percussion instrument consisting of a hollow tube fi lled with small pebbles that make the sound similar to falling rain.


Tambourine An instrument consisting of a small drumhead with metal discs in the rim, usually played by shaking and striking with the hand.


Triangles Percussion instruments consisting of a piece of metal in the shape of a triangle open at one angle.


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, Bells, Misc.

Combination of all Gourds, Blocks, Bells, and Misc. percussion instruments


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 fl at wound strings. Vel (vol); Port; Lgth; VAR 1; VAR 2; KS

Jazz Fretted Bass 1 KS Lite

Uses less memory than the full version Vel (vol); Port; Lgth; 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 KS Lite


Upright Bass 1 KS Upright acoustic bass, standard “walking” plucks; made by Hammond-Ashley.

Vel (vol); Port; Lgth; 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, standard “walking” plucks.


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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Upright Bass 2 Arco KS Lite

Uses less memory than the full version MW; Vel; PBd; Port; 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); TQSteinway Jazz Piano Lite Uses less memory than the full version. Vel (vol); Sus (sus);

TQVintage Electric Piano Fender Rhodes, circa 1970’s, suitcase model with stereo tremolo speakers

in the base.Vel (vol); Sus (sus); Trm; TQ

Vintage Electric Piano Lite

Uses less memory than the full version Vel (vol); Sus (sus); Trm; TQ

Vibraphone Hard Mallet Yamaha Vibraphone played with custom made hard beaters. Vel (vol); Sus (sus); Trm; TQ

Vibraphone Hard Mallet Lite


Vibraphone Soft Mallet Yamaha Vibraphone played with Jackson soft beaters. Vel (vol); Sus (sus); Trm; TQ

Vibraphone Soft Mallet Lite


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 the traditional “E.” Additional open strings are included.


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. Th is model is regarded as one of the most popular guitars of the jazz world.


Electric Guitar KS Lite Uses less memory than the full version Vel (vol); Port; Lgth; VAR 1; VAR 2; KS

Electric Guitar Mellow KS

Gibson ES-175 Handcrafted Electric Guitar. Th is one is EQ’d for a more mellow sound.


Electric Guitar Mellow KS Lite


THE WOODWIND INSTRUMENTSnki name: Description: Controls:

Bass Clarinet Th e Bass Clarinet plays one octave lower than the conventional clarinet.

MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; 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 Buff ett 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 Buff ett clarinet; 2nd Player. MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth


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Bb Clarinet 3 Buff ett clarinet; 3rd Player. 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 3 C Flute; 3rd Player. 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 Buff et 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 Action.



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 1 KS Keyswitched combination of instruments: Alto Sax 1; Flute 1; Bb Clarinet 1; Soprano Sax 1

MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; 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; diff erent microphones than Bari Sax 1.


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 Sax 1; Alto Flute; Bass Clarinet


61



Bari Sax 2 KS Keyswitched combination of instruments: Bari Sax 2; Alto Flute; Bass Clarinet


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; diff erent microphones than Bass Sax 1.


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; diff erent microphones than C Melody Sax 1.


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; diff erent microphones than Contrabass Sax 1.


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. Smallest instrument of the saxophone family 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 Conn.


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 “Tubax”; custom made by Benedikt Eppelsheim.


Subcontrabass Sax LiteTenor 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

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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 4 Bb Tenor saxophone; made by Selmer; a

mellower sound.MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; 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 Sax 1; Flute 1; Bb Clarinet 1; Soprano Sax 1

MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; 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

lower than a conventional trombone. MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd; 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 Straight mute.

MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd; 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 mute.


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 Harmon mute.


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 mute.


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 all mutes.

MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd; 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 mute.


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

63


THE BRASS INSTRUMENTS

nki name: Description: Controls:Tbone 1 Cup Mute Trombone 1 played with the Cup

mute.MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd; 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 mute.


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 mute.


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 all mutes.


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 Cup Mute Trombone 2 played with the Cup mute.






















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THE BRASS INSTRUMENTSnki 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 4 Open (no mute) Mellower tone and more extended range. Good for solo work.


















Tbone 5 Open (no mute) Trombone 5, made by Edwards, .500 bore.















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Tbone Plunger Mute Features playable open/close plunger. Separate shake layer not present.

MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd; 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. Separate shake layer not present.

MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd; 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 Eterna; principal instrument.

MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl; 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 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 extension to the “triple high C” (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 mute.


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 mute.


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 mute.


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 all mutes.

MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl; PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk; KS

66



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 to the “double high C concert”; made by Calicchio.

















Tpt 3 Open (no mute) Trumpet in Bb with range extension to the “double high C concert”; made by Bach.

















Tpt 4 Open (no mute) Trumpet in Bb with range extension to the “double high C” (concert); made by King-Golden Flair.


67

















Tpt 4 Lite KS Uses less memory than main KS instrument.


Tpt 5 Open (no mute) Trumpet in Bb with range extension to the “double high C” (concert); made by King-Golden Flair.

















Tpt Plunger Mute Features playable open/close plunger. Separate shake layer not present.

MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl; 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. Separate shake layer not present.

MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl; PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth

68



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

Th e “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.

MULTISMulti name: Instruments Included:Accordion Trio Upright Bass 1 KS; Acoustic Guitar KS; AccordionBig Band Rhythm Section Lite GM Classic Jazz Drum Kit Lite; Upright Bass 2 KS Lite; Steinway Jazz Piano Lite;

Electric Guitar Mellow KS LiteBig Band Rhythm Section 03 Classic Jazz Drum Kit; Upright Bass 2 KS; Steinway Jazz Piano; Electric Guitar

Mellow KSFusion Quartet 04 Fusion Drum Kit; Fretless Bass 1 KS; Vintage Electric Piano; Tenor Sax 1 KSJazz Piano Trio Lite GM Classic Jazz Drum Kit Lite; Upright Bass 2 KS Lite; Steinway Jazz Piano LiteJazz Piano Trio 03 Classic Jazz Drum Kit; Upright Bass 2 KS; Steinway Jazz PianoJazz Quintet 03 Classic Jazz Drum Kit; Upright Bass 2 KS; Steinway Jazz Piano; Tenor Sax 1 KS;

Flugelhorn 1Jazz Sextet 03 Classic Jazz Drum Kit; Upright Bass 2 KS; Steinway Jazz Piano; Tenor Sax 1 KS;

Tpt 5 KS; Tbone 4 KSSax Section KS Alto Sax 1 KS; Alto Sax 2 KS; Tenor Sax 1 KS; Tenor Sax 2 KS; Bari Sax 1 KSSax Section Lite Alto Sax 1 Lite; Alto Sax 2 Lite; Tenor Sax 1 Lite; Tenor Sax 2 Lite; Bari Sax 1 LiteSax Section Alto Sax 1; Alto Sax 2; Tenor Sax 1; Tenor Sax 2; Bari Sax 1Trombone Section KS Lite Tbone 1 KS Lite; Tbone 2 KS Lite; Tbone 3 KS Lite; Tbone 4 KS Lite; Bass Tbone KS

LiteTrombone Section KS Tbone 1 KS; Tbone 2 KS; Tbone 3 KS; Tbone 4 KS; Bass Tbone KSTrumpet Section KS Lite Tpt 1 KS Lite; Tpt 2 KS Lite; Tpt 3 KS Lite; Tpt 4 KS Lite; Tpt 5 KS LiteTrumpet Section KS Tpt 1 KS; Tpt 2 KS; Tpt 3 KS; Tpt 4 KS; Tpt 5 KSVibraphone 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: Th e trumpets now have an additional controller for adjusting the level of the release eff ects. Th is has a knob on the player interface for the trumpets and is cc29 for automation purposes.

69


Th e Garritan CommunityLearn, 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 benefi ts is membership into the Garritan community of musicians.

Th e 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 fi nd 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. Th ere is a wealth of information among the tens of thousands of posts in the forum and a convenient ‘search’ feature to fi nd what you are looking for.

Th e Garritan forum can be accessed at: http://www.garritan.com/forum.html. Th ere 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 offi cial Garritan Forum, there are other independent Garritan Communities where you can fi nd valuable information and interact with other users. I urge you to contribute and be a part of the Garritan Community where you will fi nd an indispensable resource for musicians.

70


Getting Help Th e fi rst 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 fi les which contain important information and all last minute changes that haven’t been available when printing this guide. Also, you may fi nd 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 fi nd a series of buttons directly leading you to the Native Instruments Online Knowledge Base and to the Online Support front-end. Th e 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: [email protected] 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. Th e version number of your software is displayed on the fi rst page of the About dialog. Updates are released regularly to fi x known problems and to improve the software. You can fi nd a link to check for the latest update in the About dialog, in the Readme fi le or at www.native-instruments.com. Information and help are also available at the Garritan website.

If you can’t fi nd a solution to your problem by any of the above methods, please email us at [email protected]. Th e 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 fi les, tips and techniques, updates, FAQs, and more, please visit our website at www.garritan.com.

71


AcknowledgementsProducing 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.

Th is 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. Th anks for enduring the relentless scales, sore fi ngers, numb lips and meticulous playing to produce these samples. Th anks the players: Chuck Israels (upright bass), Rich Cooper (trumpet), Jim Coile (saxophones and fl utes), David Link (saxophones), Jay Easton (saxophones), Tracy Knoop (clarinet), Curt Berg (trombone), John Leys (bass trombone), Tom Hopkins (trumpet, fl ugelhorn, 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.

Th anks to Jeanott Welter for endless hours of tedious sample editing and looping. Th anks 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.

Th anks 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.

Th anks to Michael Sandberg and James Mireau for graphic design and James Mireau for the cover art. Th anks 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.

72


Appendix A: QUICK MIDI CONTROLLER REFERENCE GUIDE

CC # DESCRIPTION USE INSTRUMENTS AFFECTED1 Modulation Controls the volume/timbre of

“Expressive” instrumentsAll “Expressive” sustained instruments. Does not aff ect most percussive instruments.

2 Breath Alternate controller for volume/timbre of “Expressive” instruments

All “Expressive” sustained instruments. Does not aff ect most percussive instruments.

7 MIDI Volume Turned off by default. Volume 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.

All if chosen.

10 MIDI Pan Turned off by default. Most 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.

All if chosen.

11 Expression Alternate controller for volume/timbre of “Expressive” instruments

All “Expressive” sustained instruments. Does not aff ect most percussive instruments.

12 Air fl ow noise Turned off by default. Can be used to add breathiness to the sound of an instrument.

Air fl ow noise is included with all woodwind and brass instruments. Also, bellows noise in accordion

Fundamental (basses) Strength of fundamental in tone All basses13 Key click/valve noise Can be used to add mechanical

noises synchronized to note changes.Supplies key click noises in the woodwinds, valve noises in the trumpets/tuba, and fi nger noise in basses.

15 Note release eff ects Turned off by default. Uses value splits to switch between falloff s, doits, and kisses.

All trumpets.

16 Plunger mute control At “closed” setting by default. Two trumpets and two trombones17 Vibrato Speed Control Used along with Aftertouch (vibrato

intensity) to control the application of vibrato.

Woodwinds, brass, bass, and guitar.

18 Flutter tongue/growl Roughens tone quality Wind instrumentsAttack (basses) Attack envelope speed All basses

19 Pitchbend disable Turned off by default. Switches to a layer that does not respond to pitchbend. Allows the user to apply pitchbend to selected overlapping notes only.

All instruments “expressive” instruments that sustain.

20 Portamento Adds portamento to notes depending on interval and controller data added.

All “Expressive” sustained instruments. Used during legato/slurred passages which require portamento.

Attack Speed (vibraphone only)

Continuously adjustable attack speed controller. Adjustable from hard to ‘bowed’ attacks. Defaults to hard attacks.

Adjustable attack speed controller on the vibraphone KS patch.

Brightness High frequency control PianoKick drum level Volume Drum kits

21 Length Controls the length/decay/release time of the sample.

Controls the length/release time of most instruments in JABB.

73


CC # DESCRIPTION USE INSTRUMENTS AFFECTEDSnare drum level Volume Drum kits

22 Variability 1 (VAR 1) Sets random variations in tuning from note to note.

Most wind, and some percussion instruments. Useful for repeated note passages to prevent the ‘machinegun’ eff ect.

Tremolo Level (vibraphone and vintage electric piano)

Variable tremolo intensity Vibraphone and vintage electric piano. To be used with cc23.

23 Variability 2 (VAR 2) Sets random variations in instrument timbre from note to note.

Most wind, and some percussion instruments. Useful for repeated note passages to prevent the ‘machinegun’ eff ect.

Tremolo Speed (vibraphone and vintage electric piano)

Variable tremolo speed Vibraphone and vintage electric piano. To be used with cc22.

24 High Frequency EQ (vibraphone)

Controls brightness Vibraphones

Tom Tom level Volume Drum kits25 Hi hat level Volume Drum kits26 Filter level Intensity of EQ Many wind instruments

Mid EQ Intensity of mid EQ Vintage electric pianoCymbal level Volume Drum kits

27 Filter center frequency Chooses the part of the audio spectrum modifi ed by the Tone Control

Many wind instruments

Percussion level Volume Drum kits28 High Frequency Control Intensity of high frequencies Many wind instruments and vintage electric

pianoAttack control Special attack control for the brass

shake layerTrumpets and trombone

64 Tongue/slur and sustain (standard folders)

Controls tongue/slur and standard sustain

Tongue/slur function for wind instruments; Standard sustain for keyboards, basses, and guitars.

68 Tongue/Slur (Notation folder only)

All wind instruments

Aftertouch Vibrato Intensity Controls vibrato intensity All wind instruments

Brush stir direction change

Controls the direction change in brush pattern. Defi nes the rhythmic character of the stir.

Brush snare drums.

Velocity Velocity Controls “note on” velocity for all instruments in JABB.

Controls the initial attack strength of 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 in a controlled manner (usually to a maximum of two semitones up or down).

Th is controller is especially useful for instruments like trombone where note slides are common. Th is controller is used to create ‘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 diffi cult portamento situations.

Appendix A: QUICK MIDI CONTROLLER REFERENCE GUIDE

74


MID

I N

OT

E #

NO

TE

NA

ME

GE

NE

RA

L M

IDI

DR

UM

KIT

SC

LA

SSIC

JA

ZZ

/FU

SIO

N D

RU

M K

ITS

BR

USH

DR

UM

KIT

34A#

Side

Stic

k35

BBa

ss D

rum

1Ba

ss D

rum

1Ba

ss D

rum

136

CBa

ss D

rum

2Ba

ss D

rum

2Ba

ss D

rum

237

C#

Side

Stic

k/Br

ush

Stir

Rim

Sho

tSn

are

Stir

(Afte

rtou

ch d

irect

ion

chan

ge)

38D

Snar

e 1

Snar

e LH

Snar

e LH

39D

#H

and

Cla

pSn

are

RH

Snar

e R

H40

ESn

are

2Fo

ot C

lose

d H

i Hat

Foot

Clo

sed

Hi H

at41

FLo

w F

loor

Tom

Low

Flo

or T

omLo

w T

om42

F#C

lose

d H

i Hat

Clo

sed

Hi H

at L

HC

lose

d H

i Hat

LH

43G

Hig

h Fl

oor T

omC

lose

d H

i Hat

RH

Clo

sed

Hi H

at R

H44

G#

Peda

l Hi H

atH

alf O

pen

Hi H

atH

alf O

pen

Hi H

at45

ALo

w T

omM

id T

omM

id T

om46

A#O

pen

Hi H

atO

pen

Hi H

atO

pen

Hi H

at47

BLo

w-m

id T

omH

i Hat

Cra

sh48

CH

igh-

mid

Tom

Hig

h To

mH

igh

Tom

49C

#C

rash

Cym

bal 1

Cra

sh C

ymba

l 1C

rash

Cym

bal

50D

Hig

h To

mR

ide

Cym

bal 1

Rid

e C

ymba

l 151

D#

Rid

e C

ymba

l 1R

ide

Cym

bal 2

Rid

e C

ymba

l 252

EC

hine

se C

ymba

lC

rash

Cym

bal 2

Sizz

le C

ymba

l53

FR

ide

Bell

Rid

e Be

ll 1

Gar

bage

Can

Lid

(wire

bru

sh)

54F#

Tam

bour

ine

Rid

e Be

ll 2

Gar

bage

Can

Lid

(bru

sh h

andl

e)55

GSp

lash

Cym

bal

Rid

e C

ymba

l 3G

arba

ge C

an L

id (b

lasti

k)56

G#

Cow

bell

Cra

sh C

ymba

l 357

AC

rash

Cym

bal 2

Sizz

le C

ymba

l 1

Appendix B: DRUM MAPS

75


MID

I N

OT

E #

NO

TE

NA

ME

GE

NE

RA

L M

IDI

DR

UM

KIT

SC

LA

SSIC

JA

ZZ

/FU

SIO

N D

RU

M K

ITS

BR

USH

DR

UM

KIT

58A#

Vib

rasla

pSt

agg

Cra

sh C

ymba

l 459

BR

ide

Cym

bal 2

Cra

cked

Rid

e C

ymba

l 360

CH

igh

Bong

oC

hina

Cym

bal

61C

#Lo

w B

ongo

Spla

sh C

ymba

l62

DM

ute

Hig

h Bo

ngo

Rid

e C

ymba

l 463

D#

Ope

n H

igh

Bong

oC

rash

Cym

bal 5

64E

Low

Con

gaSi

zzle

Cym

bal 2

(woo

d tip

)65

FH

igh

Tim

bale

Sizz

le C

ymba

l 2 (n

ylon

tip)

66F#

Low

Tim

bale

Sizz

le C

ymba

l 2 (m

alle

t)67

GH

igh

Agog

oSi

zzle

Cym

bal 2

(fi n

ger)

68G

#Lo

w A

gogo

Sizz

le C

ymba

l 2 (w

ood

tip B

S)69

AC

abas

saC

ymba

l Scr

ape

170

A#M

arac

asC

ymba

l Scr

ape

271

BSh

ort W

histl

eC

ymba

l Scr

ape

372

CLo

ng W

histl

eC

ymba

l Scr

ape

473

C#

Shor

t Gui

roC

ymba

l Scr

ape

574

DLo

ng G

uiro

Gar

bage

Can

Lid

(stic

k)75

D#

Cla

ves

Gar

bage

Can

Lid

(mal

let)

76E

Hig

h W

ood

Bloc

kG

arba

ge C

an L

id (h

ard

mal

let)

77F

Low

Woo

d Bl

ock

Gar

bage

Can

Lid

(rub

ber m

alle

t)78

F#M

ute

Cui

caG

arba

ge C

an L

id (c

ar k

eys)

79G

Ope

n C

uica

Gar

bage

Can

Lid

(han

d)80

G#

Mut

e Tria

ngle

Rad

ial S

aw B

lade

81A

Ope

n Tr

iang

leC

hrom

e Sa

w B

lade

Appendix B: DRUM MAPS

76


MIDI NOTE #

NOTE NAME

DRUMSGOURDS, BLOCKS,

BELLS, MISC.36 C Bata Low Open Cabassa Short37 C# Bata Low Muff Cabassa Long38 D Bata Low Slap Cabassa Snap39 D# Bata Mid Open Guira Short 140 E Bata Mid Muff Guira Short 241 F Bata Mid Slap Guira Long42 F# Bata High Open Guiro 1 Short 143 G Bata High Muff Guiro 1 Short 244 G# Bata High Slap Guiro 1 Long45 A Bongo Low Open Guiro 2 Short 146 A# Bongo Low Muff Guiro 2 Short 247 B Bongo Low Slap Guiro 2 Long48 C Bongo High Open Maraccas 1 Short49 C# Bongo High Muff Maraccas 1 Long50 D Bongo High Slap Maraccas 2 Short51 D# Cajone Low Maraccas 2 Long52 E Cajone Slap Shaker Short 153 F Cajone Stick Hit Shaker Short 254 F# Conga Low Shaker Short 355 G Conga Open Shaker Medium56 G# Conga Muff Shaker Long57 A Conga Slap Shekere Low58 A# Cuica Low Shekere High59 B Cuica Mid Shekere Short 160 C Cuica High Shekere Short 261 C# Djembe Open Clave62 D Djembe Muff Jam Block Low63 D# Djembe Slap Jam Block High64 E Pandero Open Wood Block65 F Pandero Muff Agogo Bell Low Open66 F# Pandero Slap Agogo Bell Low Mute

Appendix C: PERCUSSION MAPS

77


MIDI NOTE #

NOTE NAME

DRUMSGOURDS, BLOCKS,

BELLS, MISC.67 G Quinto Open Agogo Bell High Open68 G# Quinto Muff Agogo Bell High Mute69 A Quinto Slap Bongo Bell Low Open70 A# Super Tumba Low Bongo Bell Low Mute71 B Super Tumba Open Bongo Bell High Open72 C Super Tumba Muff Bongo Bell High Mute73 C# Super Tumba Slap Cha Cha Bell Open74 D Surdu Open Cha Cha Bell Mute75 D# Surdu Muff Timbale Bell Open76 E Th e Box Low Timbale Bell Mute77 F Th e Box Mid Castinets78 F# Th e Box High Hand Claps79 G Timbales Low Finger Snaps80 G# Timbales High Jawbone81 A Timbales Edge Rainstick 182 A# Tumba Low Rainstick 283 B Tumba Open Tambourine Short84 C Tumba Muff Tambourine Long85 C# Tumba Slap Tambourine Hit86 D Udu Long Triangle 1 Open87 D# Udu Short Triangle 1 Mute88 E Triangle 2 Open89 F Triangle 2 Mute90 F# Whistle 1 Short91 G Whistle 1 Long92 G# Whistle 2 Short93 A Whistle 2 Long94 A# Whistle 3 Short95 B Whistle 3 Medium96 C Whistle 3 Long

Appendix C: PERCUSSION MAPS

Garritan Jazz and Big Band - Reference Sheet - by Chris Bassett

All WindsPrimary Controls Expressive Controls Tweaking Controls

cc1 (Mod) Volume / Expression

cc64 (Sus.) Tongue / Slur

Velocity Attack / Accentuation

Pitch Wheel Bend (+/-2 Semitones)

Aftertouch Vibrato

cc17 Vibrato Speed

cc12 Air Flow Noise

cc13 Key Click / Valve Noise

cc18 Flutter Tongue / Growl

* Breath Noises in top 2 octaves of keyboard

cc19 Pitch Bend Defeat

cc20 Portamento Control

cc21 Length Control

cc22 Var 1 (Intonation)

cc23 Var 2 (Timbre)

cc26 Tone Quality (Warmth)

cc27 Tone Quality (adjust “sweet spot”)

ALL WINDS

Brass Shakes Plunger Mute Instruments Trumpet Release (cc15)

cc64 (Values 49-95) Brass Shakes

Vel. Trim Volume

cc28 Attack Speed

cc20 Portamento

cc16 Plunger Open / Close 0-32 Off

33-64 Falloffs (High Range Only)

65-95 Doits (High Range Only)

96-127 Kisses (High Bb and Above)

BRASS

C = Open D = Straight Mute E = Cup Mute F = Harmon Mute G = Bucket Mute

Keyswitching (KS Patches)

Shakes Pitchbend = +/- 6 Semitones Trombone Pitchbend = +/- 6 Semitones

All Basses Arco Upright Bass Vintage Electric Piano

cc12 Fundamental Intensity

cc13 Finger Noises

cc18 Attack Speed (Sharpness)

cc20 Portamento

cc21 Length


cc23 Var 2 (Timbre)

cc26 Midrange EQ

cc27 Midrange Center Frequency

cc28 High Frequency EQ

cc22 Tremolo Level

cc23 Tremolo Speed

cc26 Midrange Intensity

cc28 Brightness

RHYTHM

C0 (KS) Pluck

D0 (KS) Harmonics

C5 - E5 Finger Slide Noises

Electric Bass

Sus. Pedal Legato

cc19 Pitchbend Defeat

C1 (KS) Arco

D1 (KS) Alternate up / down bow

G1 (KS) Playable Tremolo Vibraphonecc20 Attack Speed

cc21 Brightness

cc22 Tremolo Intensity

cc23 Tremolo Speed

Aftertouch Vibrato Intensity

cc17 Vibrato Speed

cc20 Portamento

cc21 Length


cc23 Var 2 (Timbre)

C0 (KS) Standard Plucks

D0 (KS) Harmonics

C7 - D#8 Slides, Taps. Slaps

Guitars

cc20 Brightness

PianoC#1 Continuous Stir

Velocity First brush push strength

Aftertouch Stir Direction Change

Brush Kit

Sus. Pedal Open Strings

C5 - E6 Finger Slide Noises

Upright Acoustic Bass

cc12 Fundamental Strength

cc28 Beater Head Slap Strength

All Bass Drums

garritan - jazz & big band manual

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