vsl perftool manual v2 k2 multi-e

© 2005 Vienna Symphonic Library Date: 2005-11-14

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Vienna Symphonic Library

Kontakt 2 User Manual

Introduction

Thank you for registering your product and for downloading this manual.

We also offer video tutorials to give you a more personal insight into the abilities of thePerformance Tool that is now integrated in your Kontakt 2 programs.

We would like to thank Josef Natterer ([email protected]) for developing the scripts toperfectly fit the needs of our Performance Instruments!

General Information

The Vienna Symphonic Library is a comprehensive sample library, containing thousands ofarticulations and playing techniques for all featured instruments.

It is divided into 2 major components:

1. Single Note Samples, featuring playing techniques from staccato to sustained notes,tremolos, trills, dynamics and much more.2. Performance Instruments which need the famous Performance Tool to work properly.

The mixture of these 2 components is what makes your music come alive, and it’s up to YOU tochoose the right articulation for your arrangement.

What's new in Kontakt 2:

The scripting features in Kontakt 2 allow us to integrate the functionality of the PerformanceTool into each performance instrument program in Kontakt 2, which means that you can load aprogram and you're ready to play – all settings are perfectly preconfigured for everyinstrument!

Of course, there are some additional settings available with each mode which will be explainedin this manual.Depending on your purchases, you will find the following Performance Tool Modes within yourKontakt 2 programs:

Horizon Series

OPUS 1&2: Alternation and Legato ModeSolo Strings: Alternation, Legato and Repetition ModeChamber Strings: Alternation, Legato and Repetition ModeEpic Horns: Alternation, Legato and Repetition ModeFrench Oboe: Alternation, Legato and Repetition Mode

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Woodwind Ensembles: Alternation, Legato and Repetition ModeSaxophones 1: Alternation, Legato and Repetition ModeVienna Concert Guitar: Alternation, Legato and Repetition ModeOverdrive: Alternation, Legato and Repetition ModeMallets: Alternation ModeGlass & Stones: Alternation ModeFX Percussion: Alternation ModeVienna Harps: Alternation Mode

The Performance Tool Scripts in Kontakt 2 re-interpret your MIDI information to give you absoluteauthenticity in sound. They basically operate in three Modes chosen according to the selectedPerformance instrument: Legato, Repetition, or Alternation Mode. The Performance Toolscript settings of a given instrument are preconfigured for each Performance instrument.

The Performance Tool functionality is intended as a tool for real-time performance of legato,repetition, and alternation sequences played on the keyboard. If you are editing your MIDItracks in your sequencer’s editor, and skipping passages or running loops, the music may notalways sound as originally recorded. Naturally, when you record and playback your completedsequence, you will hear the intended result.

For best performance control, we recommend using an 88-key master keyboard, so you canaccess all preconfigured keyswitch functions while you’re playing. But, of course, you can alsouse the sequencer’s matrix editor and enter the notes and functions step by step, or fine-tunewhat you’ve recorded.

The instruments and their settings are documented in the Vienna Symphonic Librarymanuals, which you can refer to if you’re unsure how to set up a specific performance. You canalso download the Range Finder guide (PDF) from the user area of our website www.vsl.co.at,which gives brief descriptions of the instruments and their playing ranges.

Attention: When you load a program that features modwheel blends, touch themodwheel before starting to play. Kontakt needs this activation before it plays backmodwheel blend programs!

Installation

First register your Vienna Symphonic Library Horizon Series product and downloadthe Kontakt 2 Instruments (.nki files) from the User Area of our websitewww.vsl.co.at/user.

Then double-click on the folder “Exs” on your DVD, open the folder “Samples” and extract thefiles to your hard disk.

You do not have to extract the “Sampler Instruments” folder, as this contains only EXS-specificfiles.The files on your DVDs are packed as self-extracting files. To extract them on a PC, simplydouble-click on a file and specify the target folder. You can also use WinRar (included on yourDVD) to extract single files.

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Data StructureWhen we designed our Horizon Series products, it was not clear whether future releases of theKontakt sampler would support the mapping structure of our Performance Elements. Therefore,the data structure contained on your DVDs unfortunately doesn't exactly match the technicalneeds of Kontakt.

VERY IMPORTANT:In Kontakt, the .nki files are saved with relative paths. This speeds up the loadingprocess dramatically, but will only work if you keep the structure we used in ourmapping stations. Each Horizon Series product needs a separate folder, whichcontains 2 subfolders:

K2-Instruments (your .nki files; the K2-Instruments folder will be createdautomatically) andSamples (containing ONLY .wav files and articulation folders extracted fromyour DVDs).

This is essential, since Kontakt starts searching for the samples it is looking for in thefolders on the same level as the “K2-Instruments” folder!

Below, you will find a list of the Horizon Edition’s collections. Pick out your collection and clickon the image to go to the Appendix page where the necessary data structure for the product isshown and explained.

Please organize your samples and programs exactly as shown in the image –otherwise, Kontakt will have to go on a long search to find the correct samples.

OPUS 1 Opus 2

Solo Strings Chamber Strings


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Epic Horns French Oboe Woodwind Ensembles

Saxophones 1 Vienna Concert Guitar Overdrive

Mallets Glass & Stones FX Percussion

Vienna Harps


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Kontakt 2 – modes overview

User interface in Kontakt 2

To open the interface of each mode, please click on the “Tool” icon of your loaded program:

This will open your interface with your additional settings. Each element will be explained indetail farther below.


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Legato Mode

Loading instruments

The Legato Mode enables you to perform authentic monophonic legato lines on your keyboard.

Specific Legato instruments have been created that work in Legato Mode. Legato instrumentfiles will always have “PERF-LEG” in their name, e.g., “VI-14_PERF-LEG_F+F_PORTA“ fromOPUS 1, containing violin ensemble Performance Legatos. The instruments themselves arenamed “perf-leg”, so “VI-14_PERF-LEG_F+F_PORTA“ will be a forte legato, played by theviolin ensemble, which you can switch with the ModWheel to play a portamento effect.

To load an instrument, scroll through the sampler’s instrument browser and select the legatoperformance of your choice. Please see the printed manual that comes with your Horizon Seriesproduct for a detailed description of each program.

The Performance Tool scripts will take care of the complex keyswitching for you to create aperfect legato performance as you play.

The settings of a Legato Instrument

The script editor of the “VI-14_PERF-LEG_F+F_PORTA” will look like this:

User settings

All settings have been optimized to fit the needs of each instrument.

IMPORTANT: If you decide to change the settings of an instrument, you need to savethe new instrument (preferably under a new name, so that you can always go back tothe factory settings).

Let’s go through the settings in the script editor (the grey area) from left to right:

Leg_time: When you play legato, you should always connect one note with the following one.The leg_time function can do that for you. The higher the setting, the less you will have tomanually connect the notes. Still, there will never be an unwanted “overlap” of notes, becauselegato instruments are monophonic, so that the next note will automatically sound as you strikeit. It’s best to experiment with the leg_time to find the settings that suit you best.

You can transpose the position of each instrument on your keyboard in octave steps by using theOctave Offset (it is always set to position each instrument in its corresponding range on the keyboard).


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Function Keys: Ghost, Release Trigger, Repetition Trigger

With the help of function keys, you can access special functions directly on your MIDI keyboard,or insert them in your recorded MIDI track to make your performance even more realistic. Byclicking within the appropriate fields, you can set the trigger notes for the function keys. How-ever, please make sure that the trigger notes are not set inside your instrument’s playingrange. Please remember that the Vienna Symphonic Library always uses C4=middle C on yourkeyboard.

Ghost: Press this key to have the next starting note muted. For instance, you could later copythese muted notes to another track to have them played in another technique of your choice.

The Ghost function makes it possible to start a legato passage from any other starting note(from another MIDI track), e.g., from a crescendo, a diminuendo, a sforzato.

An example: In your sequencer, you record a three bar legato passage in piano (soft),using legato performances. But you want a strong accent on the first note of thispassage, instead of the now recorded piano tone. So you decide you want to use afortepiano tone from the "Special Dynamics".

In this case you put a ghost function key prior to the first note. Now the first notewon't be played, but the second note still will have the right legato transition from theending of the (now silent) first note to the second note.

Now you copy this first note to the MIDI track that is to play the fortepiano note.(Leave the muted note in the legato track, as the second legato note still needs toknow where the transition comes from!) Playing both MIDI tracks, you will get theauthentic transition from the fortepiano note to the legato passage.

Release trigger: Use this if you want to have the last note of a sequence end with a specialrelease sample for increased authenticity. To activate this function, press the trigger note afterpressing the last note of a sequence and keep the Release Trigger pressed until you releasethe last note.

Attention: if you hold a note too long, the release sample will still be triggered afterthe natural duration of the note, and you will hear the sample as a distinct extra tone.The notes of legato performances are quite long, of course, but for the sake of yourcomputer’s memory they are far from endless. If you need longer notes for yourLegato instrument, please make use of the programs contained in “Sus-Blend” thatlets you fade each legato note into a long sustaining note.


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Repetition trigger: This key has the function of providing a legato repetition instead of a freshstarting note. Press it right before the repetition note when it should be part of a continuinglegato sequence rather than the beginning of a new one.

Attention: please keep in mind that Legato Mode is monophonic, meaning that you canonly play one note at a time. If you want to have the violin ensemble play legato chord notesin a sequence, you will either have to set up as many legato channels as you have notes inthe chords, or play the chord notes from a “normal” track with, e.g., VI-14_mV_sus loaded.


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Repetition ModeThe purpose of Repetition Mode is to enable you to create realistic sounding repeated notes.We created specific Repetition Instruments to work in this Mode, using a variety of articulationsand tempos to achieve the most natural performance.

Attention: This mode is not used in OPUS 1&2, Mallets, Glass&Stones, andVienna Harps!

In the Vienna Symphonic Library, instruments for use with Repetition Mode have the designation“PERF-REP” included in the file name. These are the only instruments that will work in RepetitionMode. The file name also provides information about the number of repeated notes played by thatinstrument, plus the tempo and articulation used. For a start, let’s select “VI-6_LEG-REP5_4-50_P”contained in the Chamber Strings folder “21 VI-6_PERF-REP_LEG_4-50”, and load it intoKontakt 2. The instrument contains a chamber violin ensemble with 5 portato repetitions, played in4ths at 50 BPM (beats per minute).

Using Performance Repetitions

When you click on the “Tool” button in Kontakt 2, the script editor now will look like this:

The Style Display

Within Repetition Mode, you will find a matrix containing 12 matrix lines (on the left side, pleaseuse the scroll bar to see the first matrix lines) and a style display (the LineNr.: showing whichline in the matrix is active). Next to the style display you see the selected line_nr.

Underneath the line_nr. there are 3,4,5 or 9 yellow icons (depending on the PerformanceRepetition) that represent the active repetition notes. To edit a given matrix line, simply click onthe icons to activate / deactivate this repetition note.

Please don’t forget to save the instrument under a new filename after editing thesettings!


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Now, let’s have a look at the basic settings again:

The Base Function Key for switching matrix lines is set to C1 (MIDI: 24) by default so as notto interfere with the play zone. Depending on the Base Function Key setting, the settings forJump to Last and Skip First will also change. The function of these keys will be describedbelow.

Release Time defines the time you have to play the next tone of the repetition (your NOTE OFFEvent is being delayed). It can be set roughly to the time of the first keyswitch delay (see below)or a bit higher to get good results. If it is too long, you will get unwanted repetitions, whereas ifit is too short, the performance may not sound very natural. It is best to experiment to find thesettings you’re comfortable with.

Another important setting is the First Keyswitch Delay. This assures that your performancewill be aligned with the meter you’re in, and that the repetitions don’t lag behind the tempo ofyour piece. For our current instrument, it is set to 40 ms.

IMPORTANT: To get the timing of your repetition track right, set the MIDI delay ofyour sequencer track to the negative amount of the First Keyswitch Delay (in thiscase, -40 ms). This will compensate the delay that is needed to connect the repetitiontones correctly.

The Matrix

The matrix displays 12 lines of repetition sequences with 3,4,5 or 9 entries each, which youcan configure according to your needs. The first entry shows the keyswitch of the currentlyselected matrix line, the second displays the number of repetitions, which should alwayscorrespond with the number of repetitions the instrument has. As our current instrument hasfive repetitions, the basic patterns are all set to five entries.

Each matrix line now has five entries. The sequence of “1s” and “0s” defines which of theinstrument’s repetitions are to be played; a sequence of “1–0–1–0–1” will play the first, third,and fifth note. You can now configure the lines for the repetitions you have in mind.

Please note that it is not possible to have a matrix line without repetitions – you will not be ableto toggle the last “1” in a repetition sequence.


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Make sure that you select the proper instrument for your purposes. You can always play fasterthan the designated speed of a repetition instrument – 150 BPM repetitions can easily bestepped up to 200–250, but you cannot go below 150 without unwanted glitches and artifactsbeing heard, as a sample’s next repetition tone would start before the next sample is triggered.

As a general rule for repetition “speed limits”:

The slower the recorded tempo of the repetition, the higher the possible factor of acceleration(you can easily speed up legato repetitions of 4ths at 60 BPM (4_60) to at least 120 BPM!).

Function keys: Jump to Last, Skip First

These function keys provide special functions that will make your performance even morerealistic. The function key settings depend on the Base Function Key setting, taking up thethree notes preceding the Base Function Key. Please take care that they do not overlap thePlay Zone in case you set the Base Function Key too close to it.

Jump to Last: If you press this key, the next sample played will be the last active entry in thematrix line. Normally, this will also be the finishing note of the sampled repetition sequence, soyou can place the end of your repetition sequence at will. The next sample played after that willbe the first active entry of the matrix line (normally the starting note).

Skip First On/Off: To play long repetition sequences without employing “chain Mode” (seebelow), you can use these switches. Pressing the key assigned to Skip First On will cause thetool to skip the starting note of the repetition line until you hit the Skip First Off key. Thus, yourinitial number of repetitions can easily be increased to any amount you like.

Chain Mode

Chain Mode links the matrix lines so that you will get a sequence of repetitions consisting of allthe matrix lines – in sequence! This allows you to create long repetition sequences with a fairamount of variation (even five or nine repetitions tend to become boring if they’re always in thesame order). You can still switch matrix lines while Chain Mode is activated; the Tool simply willjump to the selected line and continue from there.

Attention: please remember that you have to play a separate note for everyrepetition! If you just hold the key, you will also hear a sequence of repetitions, but itwill be played as recorded, so that you won’t be able to influence the repetition speed!


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Triplets

Since all repetitions were recorded with straight beats (4 or 8 notes and an end note), settingthem up for triplets initially may cause a bit of confusion. However, it’s not as difficult as it mayseem at first. Here’s some suggestions for programming triplets in Repetition Mode, using“_rep9” files. (For better understanding, the accents in the examples are marked in boldface.)

1. 2x3 triplets + final note: "1:1:0:1:1:1:0:1:1" or "1:0:1:1:1:0:1:1:1"

2. for longer repetitions you can use a simple single note staccato or 0'3s note as startingnote and combine it with the following repetition: "0:0:1:1:1:0:1:1:1" or"0:1:0:1:1:1:0:1:1" Here, the separate starting note makes the first accent, so that youcan play through the repetition sequence as often as necessary for your piece.

Most important to get a triplet feeling is the groove/timing and the accents.

3. Sometimes it's good to have longer notes for the accents. For this, you also can combinesingle notes with the repetitions: "0:0:0:0:0:0:0:1:1". Naturally, you could also select tworepetitions out of the middle. In that case, you will have to take care not to trigger a thirdnote. An example: "0:0:0:0:0:1:1:0:0"

4. Yet another solution for longer triplet repetitions is a more intricate combination with singlenotes. Set up the tool like this: "0:1:1:1:1:1:1:1:1" This way, you have no starting note inthe repetitions.

The combination should work like this:stac – rep2 – rep3 – stac – rep4 – rep5 –stac – rep6 – rep7 – stac – rep8 – rep9

To create a more random effect on the accents, you can use a stac1+2 combination withAlternation mode. For our repetition example, this would be “VC-8_stac_1+2”.

5. If you combine with single notes, we also suggest playing your repetition phrase first onlywith single notes, recording it on one track. Afterwards, you can split it into a repetitiontrack and a single note track, and move the notes accordingly. Every third note then wouldremain in the single note track, playing normal staccato notes. The other notes would betransferred to the repetition track.

Attention: The delay offset of the Midi track should work in time with the repetitiontrack. This means that you have to set it up to the same First Keyswitch Delay as thatof the repetition track. However, sometimes it helps to set this offset a little "off" toget the right shuffle rhythm.


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Alternation Mode

Loading instruments

The purpose of Alternation Mode is to manage the keyswitches of a combination instrumentthat contains two versions of one tone (_1+2). We had to restrict the functionality of theAlternation Mode in Kontakt 2 to alternating between 2 recorded variations. If you want to makeuse of the more advanced features contained in the Performance Tool, please learn more in thePerformance Tool manual and make use of the original Performance Tool.

You can simply load an alternation instrument and then make use of the different alternationmatrices available.

The script editor will look like this:

The Style Display

The style display (Line:) shows the selected matrix line and the alternation entries themselves.All of the included Alternation Settings are perfectly preconfigured.

“1” always represents the first recorded variation of a tone, “2” represents the secondvariation.

The Matrix

The matrix is where you can set up your individual alternations. There are 12 lines with 12sequence entries each, so you can have 12 different alternation sequences in one setup, givingyou a lot of possibilities.

The first entry of a matrix line shows the number of alternations it contains. The contents of theactive matrix line are also shown underneath the style display, so once you’ve selected a lineyou can change the settings here. Changes you make in the style display will always bereflected in the active matrix line, and vice versa.


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Remember, the Vienna Symphonic Library uses C4 as Middle C, so you may have to subtractan octave for calculations with your sequencer. Most sequencers, however, allow you to put aninitial transposition on a track, so that you can set your tracks up to show the note pitchesexactly as they are played with the Vienna Symphonic Library. If your sequencer uses C3 asMiddle C, simply have your VSL tracks transposed down an octave.

Attention: When polyphony is switched on (which it is by default), you have to releaseall keys to access the next programmed playing technique! With every MIDI “Note-Off”your next playing technique becomes available!

Base Function Key

The base function key sets the first keyswitch for the alternation matrix. As the matrix has 12keys, you have to take care that they don’t overlap with your instrument’s play zone. For example,the contrabass ensemble’s play zone is B0–D4, its keyswitch start key is C6 (MIDI: 84).Therefore, you can place your base function key anywhere starting from E4 without overlapping.

Polyphony

The polyphony selector is on by default. If you do not activate polyphony, Alternation Mode willlet you play monophonic lines, but each note you play will automatically be the next variation,regardless of Note-Off events!

Chain Mode

The last item in our alternation setup is Chain Mode. This feature allows you to link the matrix lines sothat you will get one alternation sequence consisting of all the matrix lines – in sequence! This isespecially useful for long sequences consisting of the same articulations. Also, you can still use thefunction keys to switch to a specific matrix line. The tool will simply continue the chain starting with theline you selected.


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Appendix – Data Structure

Opus 1

Create the following folder structure and extract the archives from the DVDs into the“Samples” folder according to the image:

\OPUS1\SAMPLES


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Opus 2


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Chamber Strings

Create the following folder structure and extract the archives from the DVDs into the"Samples” folder according to the image:

\CHAMBER STRINGS\SAMPLES


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Solo Strings

Create the following folder structure and extract the archives from the DVDs into the"Samples” folder according to the image:

\SOLO STRINGS\SAMPLES


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Epic Horns

French Oboe

Create a “Samples” folder within the product folderand move the articulation folders into the “Samples”folder according to the image:

\SAMPLES

Create the following folder structure and extractthe archives from the DVDs into the “Samples” folderaccording to the image:

\FRENCH OBOE\SAMPLES


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Woodwind Ensembles

Saxophones I


\WOODWIND ENSEMBLES\SAMPLES

Create the following folder structure and extractthe archives from the DVDs into the "Samples” folderaccording to the image:

\SAXOPHONES I\SAMPLES


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Vienna Harps

Vienna Concert Guitar


HARPS\SAMPLES

Create a “Samples” folder within the product folderand move the articulation folders intothe “Samples” folder according to the image:

\SAMPLES


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Overdrive

Create a folder named after the product and extract the archives from the DVD into thatfolder to get a structure according to the image:

\OVERDRIVE


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Glass & Stones

Mallets


\GLASS & STONES\SAMPLES


\MALLETS\SAMPLES


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FX Percussion

Create a “Samples” folder within the product folder and move the articulation folders intothe “Samples” folder according to the image:

\SAMPLES


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We hope that you are satisfied with this brief introduction to the intricacies of using ourPerformance Instruments with Kontakt 2, and wish you a successful and fulfilling creativeexperience with the Vienna Symphonic Library.

Please visit our Website http://www.vsl.co.at regularly for new Performance Tool tutorials andfor additional files. If you want to know more about the instruments of the Vienna SymphonicLibrary, check out Instruments Online.

We'd also like to invite you to visit our forum to meet fellow-users of the Vienna SymphonicLibrary and to share questions and answers about our library. Most technical support questionscan be answered by simply browsing this forum, not to mention lots of user tips, advice, andinside information from the creators of the library.

Copyright Notice

Information in this training guide, including URL and other Web site references is subject tochange without notice. Without limiting the rights under copyright, no part of this documentmay be reproduced, stored in or introduced into a retrieval system, or transmitted in anyform, or by any means, or for any purpose, without the express written permission of theVienna Symphonic Library GmbH.

Vienna Symphonic Library may have patents, patent applications, trademarks, or otherintellectual property rights covering subject matter in this document. Except as expresslyprovided in any written license agreement from Vienna Symphonic Library, the furnishing ofthis document does not give you any license to these patents, trademarks, copyrights orany intellectual property.

Copyright © 2005 All rights reserved.Vienna Symphonic Library GmbH.Draschestrasse 89, A–1230 Wien, AustriaE-mail: [email protected]


vsl perftool manual v2 k2 multi-e

Documents

vienna symphonic library

horizon series product

base function key

performance tool scripts

active matrix line

selected matrix line

single note track

vienna harps