JazzManual

User’s Guide to

Garritan Jazz & Big Band Copyright © 2005 Garritan, Corp. All rights reserved First printing 2005 This guide written by: Gary Garritan, Chuck Israels, Gary Lindsay and Tom Hopkins Produced by: Director of Programming: Software Development: Graphic Design: Cover Design: Director of Editing:

Gary Garritan & Tom Hopkins Tom Hopkins Jeff Hurchalla Michael Sandberg & James Mireau James Mireau Jeannot Welter

The information in this document is subject to change without notice and does not represent a commitment on the part of Garritan Corporation or on the part of Native Instruments GmBH. No part of this publication may be copied, reproduced or otherwise transmitted or recorded, for any purpose, without prior written permission by Garritan Corporation. Use of the Garritan Jazz & Big Band ™ library and the contents herein are subject to the terms and conditions of the license agreement distributed with the library. You should carefully read the license agreement before using this product. The sounds presented in Garritan Jazz & Big Band ™ are protected by copyright and cannot be distributed, whether modified or unmodified. This Guide to Garritan Jazz and Big Band library and articulation lists contained herein are also covered by copyright. Garritan Jazz & Big Band is a trademark of Garritan Corp. KONTAKT™ is a trademark of Native Instruments GmbH. The information contained herein may change without notice and does not represent a commitment on the part of Garritan Corporation.

Garritan Jazz & Big Band Garritan, Corp. P.O. Box 400, Orcas, WA 98280 USA Tel: (360) 376-5766 e-mail: [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. Versions will be available in German & Japanese. Garritan Jazz & Big Band is a trademark of Garritan.com, registration applied for. KONTAKT™ is a trademark of Native Instruments GmbH.

Garritan JAZZ & BIG BAND Users Guide

Table of Contents Table of Contents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Garritan Jazz and Big Band At-a-Glance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Welcome to Garritan Jazz and Big Band . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Licence Agreement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . What This Package Includes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . System Requirements & Recommendations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Installing/Getting Started with Garritan Jazz & Big Band . . . . . . . . . . . . . . . . . . . . . . . . . Software Authorization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . How to Use Garritan Jazz & Big Band . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Garritan Jazz & Big Band as a Stand-Alone Application . . . . . . . . . . . . . . . . Garritan Jazz & Big Band as a Plug-In in a Specific Sequencer. . . . . . . . . . . . Using Garritan Jazz and Big Band with a Notation Program . . . . . . . . . . . . . What is Jazz . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Growth of Jazz . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jazz Arranging Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kinds of Jazz . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . Playing Jazz & Big Band Instruments. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Playing Garritan Jazz & Big Band Instruments Basic Controls For All Wind Instruments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Other Controls For All Wind Instruments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Special Features in Both Trumpets and Trombones. . . . . . . . . . . . . . . . . . . . . . . . . . . Additional Features in Just the Trumpets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Controls For the Rhythm Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Woodwind Instruments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Brass Instruments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Rhythm Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Notation Version of JABB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Putting It All Together for a Real-Time Performance . . . . . . . . . . . . . . . . . . . . . . . . Building Sections from Individual Instruments. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Directory of Sounds in Garritan Jazz & Big Band.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Rhythm Section Instruments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Woodwind Instruments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Brass Instruments.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Multis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The World of Sampling and Virtual Instruments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . How the Kontakt Player Works . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Garritan Community . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Getting Help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Acknowledgements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Appendix A: Quick MIDI Controller Reference Guide. . . . . . . . . . . . . . . . . . . . . . . . . . . Appendix B: Drum Maps. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Appendix C: Percussion Maps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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

The First Jazz and Big Band Sample Library - Garritan Jazz & Big Band is the first library of its kind. As of this writing, no sampled library of Jazz and Big Band has existed.

•

A Comprehensive Jazz and Big Band collection - Garritan Jazz & Big Band puts at your fingertips a complete sample library of Jazz and Big Band instruments along with an integrated Native Instrument’s KONTAKT™ sample player. It provides all the major instruments you need for your jazz and big band arrangements.

•

A High-Quality Jazz Instrument collection – The jazz and big band library contains over 50 instruments including sixteen different saxophones, brass instruments with various mutes, a Steinway® piano, guitars, acoustic and electric basses, an electric piano, drum kits and other instruments.

•

No Sampler Required – The entire Jazz & Big Band library is integrated with a Native Instrument Kontakt™ Player. You will not need to purchase a separate sampler.

•

Ensemble Maker - Garritan Jazz & Big Band provides the instruments you need to build your own ensembles. You can build your jazz ensembles and big bands one instrument at a time exactly as you wish. This ensemble making is a key to realistic performances. It lets you create solos, duos, jazz trios, quartets, jazz ensembles, or a full big band.

•

Intuitive Controls - The controls in Garritan Jazz & Big Band are streamlined and standardized, so you can quickly become familiar with the library. Advanced functions, such as tongue/slur, falloffs, doits, growls and automatic variability are easily accessible for realistic results with minimal effort.

•

Notation Integration to Play from the Score –You can create great-sounding jazz and big band sounds directly from the score of major notation programs. Check your notation program for integrated support for the Garritan Jazz & Big Band library. If your notation program does not provide integrated support, you can use the bundled/downloadable Garritan Studio application to bridge the Jazz & Big Band library and your notation program.

•

Universal Format - No worries about platform or proprietary formats. Garritan Jazz & Big Band will work on all popular formats, both Mac and PC, either as a standalone program or as a plug-in (supporting VST, DXi, RTAS, and OS X AudioUnits). Garritan Jazz & Big Band instruments will also load into KONTAKT Native Instruments’ flagship sampler (v.1.5 or higher). The entire library can be loaded on a single PC or laptop with sufficient RAM.

•

Suited for Every Musician. Professional composers can use this collection for quick big band charts and capturing creative ideas. Hobbyists can use it for adding jazz instrumentation to their tracks. Beginners or students can use it for scoring projects and studying jazz. The instruments in this collection can also be used to supplement orchestral sounds.

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Welcome to Garritan Jazz & Big Band Nothing quite captures the experience of listening to jazz. There is something unique and alive about the interaction of the players, the spontaneous improvisation, and the varied styles. Our aims are to give musicians the tools to play jazz and big band music, to provide information about jazz and big band music to as many people as possible, and to promote and encourage jazz and big band music everywhere. Garritan Jazz & Big Band is the first library of its kind. As of this writing, no sampled library of Jazz and Big Band has existed. We wanted to do something special and produce a new kind of library. Jazz instruments are very expressive, individualistic and the most difficult to accurately sample. New computing and sampling technology now makes this possible. I would like to take this opportunity to thank all of the individuals who contributed to this project and made it possible to provide these sounds and tools for musicians. I would particularly like to thank Tom Hopkins who has recorded, performed and programmed much of this library. Tom brings over thirty five years of professional jazz experience and this product certainly demonstrates Tom’s mastery and musicality. Garritan Jazz and Big Band is a dynamic library that will evolve and grow. Please check our website at www.garritan.com for the latest up-todate information downloads, updates, FAQs, troubleshooting, helpful hints and tutorials. It is my hope that this Jazz and Big Band collection will enable you to make great music that enriches your life.

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License Agreement Please read the terms of the following software licensing agreement before using this sample collection. By installing and loading this product you acknowledge that you have read this license agreement, understand the agreement and agree to its terms and conditions. If you do not agree to these terms, do not install or use the sounds contained herein. This is the complete agreement between you and Garritan Corporation that supersedes any other representations or prior agreements, whether oral or in writing. An important thing to understand is that YOU ARE OBTAINING A LICENSE FOR YOUR USE ONLY – THEY DO NOT BELONG TO YOU. The sounds, samples and programming in the Garritan Jazz and Big Band library remain the sole property of Garritan Corporation and are licensed (not sold) to you. What You Can Do: You can use these sounds in music productions, public performances, and other reasonable musical purposes within musical compositions. You can use these sounds in your own musical compositions as much as you like without any need to pay Garritan Corporation or obtain further permission. If you do use these sounds, we ask that in any written materials or credits accompanying your music that utilizes material from Garritan Jazz and Big Band collection (CD booklet, film credits, etc), that you include the following courtesy credits: "samples used in this recording are from Garritan Jazz and Big Band™, or a similar credit where practicable. What You Cannot Do: The enclosed sounds cannot be re-used in any other commercial sample library or any competitive product. You are absolutely forbidden to duplicate, copy, distribute, transfer, upload or download, trade, loan, reissue or resell this library or any of the contents in any way to anyone. You cannot redistribute them through an archive, nor a collection, nor through the Internet, nor binaries groups, nor newsgroup, nor any type of removable media nor through a network. The sounds and samples contained herein cannot be edited, modified, digitally altered, re-synthesized or manipulated without direct written consent of Garritan Corporation. A right to use Garritan Jazz and Big Band is granted to the original end-user only, and this license is not transferable unless there is written consent of Native Instruments GmB and Garritan Corporation and payment of an additional fee. The sounds of Garritan Jazz and Big Band will only work with Native Instruments Kontakt and the bundled Kontakt Player and will not work with any other sampler. Licensor will not be responsible if the content of this disc does not fit the particular purpose of the Licensee. Please make sure before ordering this item that it meets your needs. Information contained herein is subject to change without notice and does not represent a commitment on the part of Garritan Corporation. The sounds are licensed "as is" without warranties of any kind. Garritan Corporation, nor any agent or distributor can be held responsible for any direct or indirect or consequential loss arising from the use of this product in whatever form. The Garritan Jazz and Big Band library may not be returned for any reason other than manufacturing defects. The terms of this license shall be construed in accordance with the substantive laws of the United States of America and/or the State of New York. U.S.A. All product and company names are ™ or ® trademarks of their respective owners. Garritan Corporation is not responsible if the Kontakt Player or any of the third-party programs do not fit a particular purpose of the Licensee, nor if there are any direct, indirect, or consequential losses arising from the use of them. We do not offer support and are not responsible for supporting these products. Our support is limited to the samples themselves. All support with respect to the Kontakt Player must be directed to Native Instruments. The user agrees to read the manual before seeking tech support. The RECOMMENDED REQUIREMENTS for Kontakt 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 X or higher and a G5 is recommended. The Mod Wheel on your keyboard controls volume so make sure to move it up to an audible level. If you do not have a Mod Wheel, then the ability to assign the controller within your notation program or sequencer or to an external controller is required. To play the entire orchestra, we recommend a minimum of 1 GB of RAM. Your system must meet or exceeds these requirements. Please also observe the system requirements of your host application.

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What This Package Includes • •

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

System Requirements & Recommendations: • • • •

•

• •

Hard Drive Space: 2.8 GB of free hard disk space. Additional Drives: DVD Drive required to install. Processor & Operating System: On a PC, Windows XP, Pentium 4 /Athlon 2.0+ GHz or better is recommended. On a Mac, OS 10.2.8 or higher, G5 1.8 GHz or faster is recommended. RAM: A minimum of 1 GB of RAM is required to play the entire library. There is a direct correlation between the number of instruments that can be loaded and the amount of available RAM. The more RAM available the better. Sound Card: A sound card is required for playing the sounds of the Garritan Jazz and Big Band library. For Windows, DirectSound, MME or ASIO drivers are required (ASIO recommended for use with Garritan Studio). For Mac: Core Audio or ASIO. MIDI: A MIDI interface may be required if you are using a MIDI keyboard, MIDI controller, or an external sequencer. Some keyboards using USB may not require a MIDI interface. Mod Wheel: The Mod Wheel on your keyboard controls volume, so make sure to move it up to an audible level. If you do not have a Mod Wheel, then you will need to re-assign the controller within your notation program or sequencer or to an external controller.

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

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Installation Instructions To install the Garritan Jazz & Big Band library and the Kontakt Player: 1. Check that your computer meets the minimum requirements to run Kontakt Player. Quit all applications. 2. Insert the DVD into the drive. 3. Use the Windows Explorer (PC) or Apple Finder (Mac) to open the installation DVD if it does not open automatically. 4. 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. When you run the Kontakt Player installer, you can select which components you would like to install:

PC Install

Mac Install

It may be easiest to install all listed components; if asked for a destination location, you can use the default location provided. Make sure you always install the Garritan Jazz and Big Band Standalone Application and the Garritan Jazz and Big Band Library. Install the VST, Audio Units, DXi and RTAS options if you use those particular plug-in formats. The VST plug-in will be required if you will use the Garritan Studio application. An important part of the Garritan Jazz and Big Band Kontakt Player installation is the Product Authorization, which has to be completed in order to make permanent use of the software.

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Software Authorization The Product Authorization provides a full registration and entitles you to make full use of the Garritan Jazz and Big Band library and all related services. On the Garritan and NI Kontakt 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. You get two installations with each Garritan Jazz and Big Band library. Therefore you can use Garritan Jazz and Big Band on both a laptop and a desktop, or on two separate computers. Once you install Garritan Jazz and Big Band you can run it for 30 days unauthorized without any limitations. Using it unauthorized, a reminder message will let you know the authorization has not been completed yet and will indicate the remaining days the software can run without an authorization. The Product Authorization is done with a small application called the Registration Tool. The Registration Tool will automatically register you over the internet, or you can authorize/register the Kontakt Player by mail or by fax. This Registration Tool generates a System ID based on some hardware and OS components of your computer. This System ID serves as a request code for receiving an Authorization Key.

Note: Merely changing your audio card, MIDI interface or external gear will not require a new Authorization Key. But replacing hardware components in your computer or installing a new operating system might require a new Product Authorization. In this case the Registration Tool will reflect the change by displaying a new System ID, and you will have to repeat the Product Authorization.

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Garritan JAZZ & BIG BAND Users Guide A System ID has to be sent to Native Instruments for you to receive an Authorization Key. The Kontakt Player will stop launching after 30 days if it is not authorized. It will still be possible to complete the Product Authorization after the 30 days and then the software will launch again.

Conducting the Product Authorization Step 1: Start the Registration Tool and Send the Registration File to Native Instruments Windows: Start the Registration Tool from the Start menu (Native Instruments Kontakt Player Registration Tool) or from the Kontakt Player installation folder (default path: C:\Program Files\Native Instruments\KONTAKT PLAYER\). MacOS: Start the Registration Tool from the Kontakt Player installation folder (default path: Applications\Kontakt Player\).

To Register Via the Internet (recommended): •

If your Internet connection is on the same computer you are installing Garritan Jazz and Big Band, click the Register Now button to open the Native Instruments registration webpage. Your standard Internet Browser will open and an internet connection will be established according to your system settings. Your System ID will be transmitted automatically to the registration form.

•

If your Internet connection is on another computer, click on the Save Registration File button which opens a Save dialog for saving an HTML file. Save the HTML file to any storage medium. Then transfer the HTML file to another computer where you have Internet access (via floppy disk, CD-R etc.). Open the HTML file in your internet browser and then click on the link for the registration page on the Native Instruments website. When you click on this link an Internet connection will be established according to your system settings.

Once connected to the internet, the first registration page asks for a valid email address. If the email address you enter is already known by the registration system, the next page will ask you for the password, which you got from an earlier product registration. If the email address is new to the system, a new registration process will begin. Please follow the instructions to complete the registration. To register by email, fax or mail: Click on the Fill Out Form button, which opens a local HTML registration file in the operating system’s standard browser or another program that you have defined as a standard application for opening HTML files. The HTML registration file contains all information Native Instruments requires for completing the Product Authorization and registration. Please fill in the required data and print it out, or write a letter containing the data. If you write a letter please use legible handwriting to avoid errors. Illegible email or postal addresses can cause problems with Authorization. Send the form to Native Instruments using one of the following: Native Instruments Registration Schlesische Straße 28 10997 Berlin, Germany USA Fax: +49 30 61103535 372-3676

Native Instruments USA 5631A Hollywood Blvd Los Angeles, CA 90028, Fax: +1-323-

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Garritan JAZZ & BIG BAND Users Guide Note: Online Product Authorization is done via a secure connection using 128 bit encryption. Native Instruments keeps your personal data, like email and postal addresses in confidence. No data will be passed to a third party.

Step 2: Receive your Authorization Key from Native Instruments and Complete the Registration: 1.

2.

3.

After sending the required information, you will soon receive an Authorization Key from Native Instruments. If you registered by email, the Authorization key is available in the email body and also as a text attachment. This email also contains a password, which is required for using the online services. If you registered by fax, email or mail, you will receive an Authorization Key either by email (recommended), postal mail or fax. Once you receive your Authorization Key, start the Registration Tool again. Copy the Authorization Key from the email and press the “Paste from Clipboard” button in the Registration Tool, or use the Open File button in the Registration Tool to open the email attachment, which you previously have saved to hard disk. If your internet connection is on another computer, transfer the text attachment to the computer where you have installed Garritan Jazz & Big Band. Click on the Complete button.

If you run into problems during the Product Authorization, the Native Instruments registration support team will be happy to help you. Please note that Native Instruments handles ALL registration and authorization matters. The fastest and easiest way to get support is to go the Support pages at www.native-instruments.com. There are also telephone numbers for Native Instruments on their website. You can also write an email to [email protected] and describe the problem as accurately as possible. Native Instruments has good registration support and usually a return time of one day or less during business days. After installation is complete, you have full use of the Garritan Jazz and Big Band library.

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

Using Jazz & Big Band as a Standalone Application The stand-alone version of the Garritan Jazz and Big Band Kontakt Player 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. In order to use the Jazz and Big Band Kontakt Player standalone program, you must configure the Audio and MIDI Settings in the File menu of the Jazz and Big Band Kontakt Player.

Basic Setup Information for Stand-alone Mode: To use the Standalone version you have to configure the Audio and MIDI settings in the Kontakt Player Setup dialog box (found in the File menu). 10


Soundcard Tab Interface: All of the supported (and installed) audio interfaces are available in this drop-down list. Select the desired audio driver (MME, DirectSound, ASIO, SoundManager, Core Audio) from the list Sample Rate: Depending on the sound card and driver you are using, various sample rates are available. Set the desired sample rate here. Output Device: Here you can define which of the installed audio interfaces should be used for the audio outputs based on the driver selected under Interface. Input Device: Here you can define which of the installed audio interfaces should be used for the audio inputs based on the driver selected under Interface. Note: The input device will generally not affect Garritan Jazz & Big Band, and with some interface types (e.g. ASIO or Core Audio), the Input Device setting is not available. Instead you can set the inputs for the chosen driver on the Routing tab. Output Latency: This box displays the output latency. With some drivers you also get a latency slider for setting an individual latency for KONTAKT PLAYER. If you experience clicking or crackles, you should increase the latency. Routing tab

Audio & MIDI tab

In the Routing tab, if you are using a multi-channel sound card, KONTAKT 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, KONTAKT PLAYER sends and receives MIDI on these activated inputs and outputs.

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

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Garritan JAZZ & BIG BAND Users Guide Plug-in Standard

Description

Windows

Mac x

VST

The VST plug-in stands for Virtual Studio and was developed by Steinberg, the makers of the Cubase family of audio programs. It is also used by Cakewalk Sonar, Magix Samplitude, Nuendo, FL Studio and other sequencers.

x

DirectX (DXi)

DirectX instruments (DXi) is Microsoft's multimedia plug-in standard for Windows XP. DirectX plug-ins work only with Windows on a PC. It is currently used by Cakewalk Sonar, FL Studio, and Sony Vegas

x

Audio Units

The Audio Units (AU) plug-in standard was developed by Apple Inc. for Core Audio under Mac OS X. Audio Units is becoming the preferred plug-in format on Mac OSX and is used by Emagic Logic Audio under OS X. It is also used by Digital Performer 4.11+

RTAS

RTAS plug-ins (which is short for 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.

x

x

x

Using Garritan Jazz & Big Band in a Specific Sequencer: Garritan Jazz and Big Band collection works as a plug-in with many popular sequencers including Cubase, Sonar, Logic, Digital Performer, Digidesign ProTools, Samplitude, Nuendo, GarageBand, Tracktion, FL Studio, Orion and others. There are many resources and tutorials on how to use Garritan libraries with the various popular sequencers that are available on the Garritan website at www.garritan.com. Many Garritan Users have contributed tutorials, sequencer song files, tips, techniques, plug-ins, special programming, tips, troubleshooting advice, informative links and resources to help others make music.

Using Garritan Jazz & Big Band with a Notation Program Notation is a fundamental part of music creation. Notation programs allow you to easily create and print high quality sheet music with your computer but until recently it was not possible to play realistic sounds from notation programs. Garritan Jazz and Big Band was developed specifically with notation in mind. Notation users can play the sounds of the Garritan Jazz and Big Band instruments directly from the score. MakeMusic Finale® and Human Playback have special integration with Garritan libraries. GenieSoft Overture®, Sibelius and MidiNotate have developed specific soundsets for Garritan libraries. There are also specific Finale and Sibelius plug-ins designed to optimize use with Garritan Libraries. There is a special “notation version” of the Garritan Jazz and Big Band library developed just for notation program users. This Notation version is included on the disc along with the Standard Garritan Jazz and Big Band version. The Notation version is very similar to the Standard version but there are important differences which make it more compatible with the way most notation programs handle MIDI data. There are two ways to use Garritan Jazz and Big Band with notation programs. One is to use it directly from within a notation program that can host it. The other is to use the Garritan Studio host application. Recent advances in notation technology will allow you to play 12

Garritan JAZZ & BIG BAND Users Guide Garritan Jazz and Big Band sounds directly from within certain notation programs. Programs such as MakeMusic FINALE 2006® and Geniesoft OVERTURE 4® 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 VST Host application designed to allow you to play Garritan Jazz and Big Band instruments from a notation program. You can use nearly any notation program that supports MIDI including Finale, Sibelius, Overture, MidiNotate, Encore and other notation programs. There are many resources on how to use Garritan libraries with various notation programs on the www.garritan.com website including tutorials, notation files, tips, techniques, plug-ins, special programming, tips, troubleshooting advice, informative links and the latest version of Garritan Studio.

What is Jazz? Ask 100 people “What is jazz?” and you'll probably get 100 different answers. Part of the reason is because jazz is not predictable like classical music where players must play what is on the printed page without much artistic license. Jazz is a living art form, always changing and evolving, and never the same. The essence of Jazz is improvisation. In most jazz performances, players interpret and communicate music in their own unique way and express their own individual voices. The players typically play solos they make up on the spot. This makes jazz a very expressive musical form, capable of musically communicating the thoughts and feelings of the players. Whether it is sorrow or joy, no music so eloquently gives voice to an individual. Jazz music is player oriented where basic guidelines are established and the players are free to individually or collectively improvise. Usually, the same piece can not be played again in the exact same manner as it can in classical music. Jazz can take a familiar tune and make it fresh each time it is played. "Never play a thing the same way twice." remarked Louis Armstrong. Although improvisational in nature, jazz requires considerable skill. The simplicity will fool you. It is in the act of spontaneous creation where we truly find Jazz, and the listener plays an important role and experiences what is being expressed. There is a personal connection with the musing that is unlike other forms of music. Jazz invites the listener into a relationship with the players. The inspired motif at a particular instant may be in response to audience involvement as the player communicates. So, again, what is jazz? Someone once asked this question to legendary great jazz musician, "Fats" Waller and his response was:

"If you hafta ask, you ain't never gonna know!"

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The Growth of Jazz by Chuck Israels In the late 19th Century USA, the popularity of brass bands, like John Philip Sousa’s, made trumpets, trombones, flutes, clarinets, saxophones, and drums familiar and easily accessible to young American musicians. Before long, players of these instruments, especially those who lacked the traditional European style schooling in technique, began to exhibit some of the nuances and inflections of American spoken language in the way they expressed themselves through musical sounds. In the evolution of classical music, a general consensus had developed about how instrumentalists were to be trained to adjust and modify their playing in order to create a homogeneous ensemble blend and an instrumental version of the operatic vocal line. The situation in the shorter history of jazz was somewhat different. Individual nuances of timbre, attack, and pitch inflection became valuable commodities to the jazz musician, and the development of a personal sound was taken as a sign of musical maturity. For example, the saxophone, developed in the 19th Century as a reed instrument capable of competing in loudness with brass instruments, and which has a more or less uniform sound in classical music, evolved in the 20th Century into a jazz instrument most remarkable for its ability to accommodate a variety of personal expressive styles. There is not so much a jazz saxophone sound as there are Coleman Hawkins sounds, Lester Young sounds, Johnny Hodges sounds, Charlie Parker sounds, Harry Carney sounds and Gerry Mulligan sounds. The situation is not all that different for brass instruments. Louis Armstrong changed the sound of the trumpet for everyone, even classical trumpet players, but Miles Davis and Clark Terry are instantly recognizable too, not to mention all the sounds that Ellington’s players contributed with special mutes and plungers. And whose sound represents the jazz trombone, Jack Teagarden’s, Al Grey’s, Bill Harris’ or J.J. Johnson’s? Similar situations exist among the rhythm instruments where creative bass players, drummers, and guitarists developed personal approaches to their instruments. Bassists Jimmy Blanton and Ray Brown invented ways of playing pizzicato sounds that had a remarkably extended decay, while still maintaining a nearly superhuman power of rhythmic precision and strength of attack. Over time, this kind of instrumental sound became accepted as the “default” for jazz bass lines, supplanting the tuba, bass saxophone, and left hand of the piano player, as the ideal embodiment of pulse and pitch for propelling the rhythm of this American music. Charlie Christian was the first jazz guitarist to find acceptance and acclaim using an electromagnetic pickup, and his playing remains a template for the electric guitar in jazz. Others have continued to develop this technology, so that the accepted sound of the electric guitar now embraces timbres as diverse as Wes Montgomery’s and Jim Hall’s. The development of the standard jazz drum kit, with each of the drummer’s limbs available to contribute to the pallet of percussion sounds and rhythmic textures, was another factor in the history of the idiom. Drummers like Jo Jones, Kenny Clarke, Max Roach, Roy Haynes, Buddy Rich, Art Blakey, Philly Joe 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 14

Garritan JAZZ & BIG BAND Users Guide cymbals, high hat cymbals, snare drums, tom toms, pedal operated bass drums, mallets, sticks, and wire brushes, to create interesting and changing drum parts. The inclusion of a rhythm section (piano/guitar, bass, and drums) “continuo” part in most jazz ensembles is a part of the tradition that is particularly useful in a kind of music which often depends on a repeated series of chords to set a controlling background texture against which a varied foreground can be successfully designed. That foreground may consist of an improvisation played by an individual instrumentalist, a singer, or a combination of instruments in a written passage. The rhythm section instruments have a wonderful effect on the music, but it’s also useful to leave them out in some passages for contrast and for the dramatic propulsive effect of their re-entry. The history of the organization of these instrumental sounds into efficacious combinations is full of change and development, from early New Orleans style polyphonic ensembles, to the modern wind ensemble sounds of Gil Evans’ music. There is a world of idiomatic history just in the study of rhythm section combinations and balances, and another encyclopedia’s worth of tradition in the way Fletcher Henderson, Count Basie, Duke Ellington, and Billy Strayhorn organized the reed and brass sections. The history of jazz instruments is full of unique and personal ways of making individual instrumental sounds and equally unique and creative ways of combining them. There is a rich pallet of sounds available to those jazz composers/arrangers lucky enough to have access to good musicians to perform their work. For those for whom this access is unavailable, there are sample sounds to use as audio “sketches” to check basic timbres and balances as they experiment and create new music. The Garritan Jazz and Big Band library is intended to serve this purpose. Getting started using the sounds in the Garritan Jazz and Big Band will be intuitive enough for jazz arrangers who have had experience with live musicians. For those whose experience is more limited, here is some basic jazz arranging information: All the saxophones have the same written range, from B flat below middle C, to F, 2 1/2 octaves above. This transposing trick allows a saxophone player to switch instruments without the necessity of learning new fingering, and it makes an understanding of the range and registers clear simply by observing the position of the notes on the staff system. It is helpful to understand that the saxophone was invented for volume, and it is not an easy instrument to play softly. The lowest two or three notes on the soprano, alto and tenor tend towards a rough and honking quality that is not easy to control, while the baritone is a little easier in this respect. The high range of the baritone, somewhat underused in the standard repertoire, can have a stentorian, singing quality that makes an effective solo voice and, incidentally, blends well with the French Horn. When combining saxophones in unison with brass instruments, the most effective combinations occur when the timbres are recognizably different. Combining a baritone Sax with a Trombone is more interesting than using a tenor sax with it. Trumpet and trombone ranges are roughly similar, though separated by an octave. The trumpet range starts on E below middle C (written F#) and extends comfortably 2 1/2 octaves to a high B flat (written C above the staff). This range is accessible to most student trumpet players. Expert lead players can extend that range up to a 5th higher while high note specialists soar another octave or more above that. The trombone has a similar range, starting on E below the bass clef staff and reaching the high B flat a 7th above middle C. 15

Garritan JAZZ & BIG BAND Users Guide Many trombone players are quite comfortable extending that range upwards by a 3rd, and lead players go even higher on occasion. There are also useful pedal notes available below the usual bottom of the range. Tenor trombones cannot play any of the notes between the low E and the pedal B flat (a diminished 5th lower), but the pedal notes can be effective, especially in a three or four part unison. (B flat, A, and A flat are all available, but the tradition is to make special use of the B flat.) Bass trombones (with extra tubing brought into play with trigger valves) can play all the chromatic notes down to the pedal notes and then extend the range down to an F below that. The most useful guitar range is written from E below the treble clef to G, 3 octaves above middle C (sounding an octave below the written range). Most guitars have fret boards that extend a 4th above that G, but that range becomes a little thin sounding because of the short length of the vibrating string. When writing for the guitar in unison with other instruments, it is often good to keep the guitar range within the staff. For instance, having the guitar part in a written unison with a piano line puts the sounding guitar an octave below the piano, but the effect is that the sounds blend well, sometimes better than writing the guitar an octave higher, resulting in a real unison. Basses go from a written low E (below the bass clef staff) to G above the staff for normal bass lines (sounding an octave lower) with another octave available for solo passages. When it is necessary to have bass notes sound in sustained passages with wind instruments, the results are better when those notes appear in the lower winds. Overdoing the volume of the string bass, or using an electric bass to balance the harmony in the winds may overpower the ear’s ability to hear the mixtures of notes and harmonies in the middle and upper parts of the music’s range. To my way of hearing things, this is the biggest and most common error in the use of the many technological advances that allow musical instruments to play louder. The electric bass guitar (or amplified string bass) is a fine choice for music largely devoid of dynamic and textural nuance, and there is some fine music in that category, but may not be appropriate for even the loudest music that Basie or Ellington ever played. It is helpful to remember that all instruments have the effect of sounding low at the bottom of their ranges, and high at the top of their ranges, so that middle C on the flute sounds deep and low, while the same note on the baritone saxophone or trombone sounds quite high, and it sounds very high on the bass. This is only a quick overview of what’s available to the user of this sample library. There are many fine arranging and orchestration books available where one can find information about the traditions of writing for jazz instruments, range charts for these and other instruments, and examples of classic scores. A good source of arranging knowledge is the collection of Ellington scores published by Jazz @ Lincoln Center. Chuck Israels, Bellingham, WA

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Jazz Arranging Techniques by Gary Lindsay The road from orchestrator to jazz arranger may be navigated more easily if you have the right tools. The most fundamental tool, “jazz concept,” is developed through listening to jazz arrangers and composers, and defining the roles of members of a jazz ensemble. The roles of horn players (a generic term referring to trumpet, trombone and saxophone players) in a jazz arrangement fall within three categories: melody (or improvised lines), countermelody, and accompanying rhythmic or sustain pads. The jazz band rhythm section (piano, bass, guitar and drum set) doesn’t have a direct parallel in most orchestra music. In addition, the members of the rhythm section play dramatically differently according to the style of music, i.e., swing, Latin, funk, etc. The role of the piano and/or guitar is predominantly as accompanist providing a combination of sustained and rhythmic pads commonly referred to as “comping.” Occasionally, their function includes melody or counter- melodies in the form of written music or improvised solos. Depending on the style of the music the bass may provide an ostinato pattern, a highly rhythmic/syncopated pattern or a quarter note walking style (swing) - any of which will contribute a harmonic, rhythmic, and even melodic (walking bass) element to the proceedings. The drummer, usually using all four limbs, provides rhythmic pulse to the arrangement as defined by the musical style. Listen with “arranger’s ears” to identify the elements of melody, counter-melody, rhythmic and sustained pads, and the roll of each member of the rhythm section. Observe how each element is being scored (orchestrated). An arrangement is not static, it is moving along a timeline at a speed determined by the tempo of the arrangement (constant or otherwise). As with orchestral writing, the elements of an arrangement constantly change. The melodic element may start in the piano, move to saxophones, and then to the brass. With all the other elements shifting (not necessarily at the same time), there is an almost limitless number of ways to combine elements to create a unique arrangement. “Jazz Arranging Techniques” is a comprehensive guide to the tools and techniques of jazz arranging. Adopted by colleges and universities around the world, this is the authoritative book for jazz arranging, providing the theory and arranging techniques that can be used with the sounds of the Garritan Jazz and Big Band Library. These book provides examples of techniques used in small and large ensembles and further explains how to create voicings, notate rhythm-section parts, articulate horn lines, adjust the balance and blend, etc., with a sequential approach. In addition to numerous scores, illustrations and recordings, the book also incorporates exercises and assignments. Multiple recordings are provided on the accompanying CD for listening and score analysis. Jazz theory and harmony, principles of jazz voice leading, voicing techniques, rules governing music calligraphy, chord symbol nomenclature, and jazz notation and articulation are presented in a very systematic (step by step) approach. For information about “Jazz Arranging Techniques” visit www.lindsayjazz.com Gary Lindsay Miami, FL www.lindsayjazz.com 17


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

Dixieland: Louis Armstrong, Original Dixieland Jazz Band, Jelly Roll Morton, Earl Hines, Sidney Bechet, Johnny Dodds, Bix Beiderbeck and Kid Ory

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Big Band/Swing: Count Basie, Nat King Cole, Benny Goodman, Billie Holiday, Duke Ellington

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Bebop: Charlie Parker, Dizzy Gillespie, Thelonious Monk

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Cool jazz: Miles Davis, Dave Brubeck

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Free jazz: Ornette Coleman, Cecil Taylor, John Coltrane (Ascension album)

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Jazz-Rock Fusion jazz: Miles Davis, John McLaughlin, Herbie Hancock

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Modern Jazz (contemporary and avant-jazz: Wynton Marsalis, Pat Metheny, Joe Lovano, Joshua Redman, and Don Byron

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Latin Jazz: Afro-Cuban and Brazilian.

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

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Basic Controls for All Wind Instruments: 1 Mod Wheel (cc1)

2 Note Velocity

Controls Volume & Expression

Controls Attacks and Accentuation 4 Key Switching Change brass mutes and some articulations In Real-Time

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.

3Sustain Pedal (cc64) For tongue/slur articulations

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

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

1. Mod Wheel Control (cc1)

Shaping Dynamics & Playing Expressively One of the things that make an ensemble sound great is the wide range of dynamic contrasts. Every phrase and the notes themselves have unwritten dynamics that the player interprets. Without dynamics, music would lack nuance and depth of expression. The Mod Wheel controls volume (plus volume-related changes in timbre) and provides dynamic and expressive control. You need to use the Mod Wheel to get the most out of Garritan Jazz and Big Band. The Mod Wheel is a controller normally mounted at the left side of the keyboard and played with the left hand. With Garritan Jazz and Big Band, the Mod Wheel simultaneously 19


controls both Volume (ppp to fff) and Timbre (brightness or EQ) for all nonpercussive 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. Note: The Mod Wheel is controlled with cc1 and can be reassigned in your sequencer to a wind (cc2) or other controller.

2. Note Velocity

Attack and Accentuation Virtually all keyboards made today support a feature called "Note Velocity” which refers to how fast (or hard) you press a given key. With Jazz and Big Band, the harder you press down a key, the harder and sharper the attack; the softer you hit the key, the gentler the attack. Hitting a note even harder will give the tone that extra punch. Applying proper accentuation brings clarity and emphasis to the notes being played. It can also shape the rhythm and flow of a piece of music. There are many types of accents: strong accents, normal accents, staccato accents, to name a few. The degree of force you apply to the keys will vary depending on the instrument 20


selected and the musical context. With brass and winds, accents are made by “tonguing” to emphasize certain notes. Whenever you feel that a note should be accented, do it by striking the key harder. Keep in mind that this only works when the sustain pedal is “up.” This is the position for tongued notes. It is important to note that this control relates to attack strength (for the most part) independent of volume. Many instruments in Garritan Jazz and Big Band (brass and winds especially) have volume controlled by the Mod Wheel. So, don’t always try to play notes louder by banging on the keyboard, or the result may be a heavily accented note that you did not intend. Percussive instruments (including the piano and bass pizzicato) do use note velocity for volume and volume-related timbre changes, in addition to attacks, and the Mod Wheel won’t do anything for those instruments.

3. Sustain Pedal (cc64)

Control of Tongue and Slur Articulations In wind instruments the tongue is used to release the air flow that energizes the vibration of the reed or lips. One of the things that makes a Jazz phrase sound idiomatically correct is the distribution of tongued and slurred notes. In Jazz and Big Band the sustain pedal is given the switching function between tongued and slurred notes. The default position (sustain pedal up) gives tongued notes. Depressing the sustain pedal, while the user plays with deliberate note overlaps, creates slurred transitions between notes by smoothing those transitions. Recording sustain pedal data at the proper locations in your tracks can result in much more realistic simulations of tongue/slur articulations. Remember, the “pedal up” tongued notes use velocity to control the strength of the attack. Recording shorter note values can create more detached tongued notes. The slur is achieved by holding the sustain pedal down for the desired group of notes while making sure there are no gaps between the slurred notes. Whenever the sustain pedal is depressed, the attack portion of the sample is removed to create much smoother transitions between notes. To get an idea of what the slur function does, consider the following illustration. This is how waveforms of a musical phrase look when played on a typical sampler:

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

Note: The Kontakt Player defaults automatically to the second pedal mode “No Sustain/Sostenuto Operation, but MIDI controller” in the Kontakt Player which is the correct mode for the horns. To play standard sustain instruments, such as the piano, “Normal Sustain/Sostenuto Operation” must be selected under Options/General (under the Load button). To return to legato mode, the Sustain/Sostenuto Pedal Mode has to be returned to the second choice on the pedal mode list. All Kontakt Player instances must be set to the same configuration. You cannot assign piano to one instance with normal pedaling while simultaneously assigning other instances to separate legato functioning. This is a limitation of the present version of the Kontakt Player and some workarounds are posted in the support section of the www.garritan.com website. Or, you can choose to use the Notation version of the library which uses only pedal mode 1 for all instruments and moves the sustain pedal function to cc68.

Other Controls for All Wind Instruments

Pitch Bend Wheel: This control can be used to bend the pitch of a note at its start or while it is sustaining. It is especially useful for trombone and guitar. For wind instruments the pitchbend range is limited to +/-2 semitones to give the user subtle control over scoops, bends, and other important effects, while avoiding such artifacts as formant displacement. Note that the Notation folder instruments have a consistent pitchbend range of +/-12 semitones for compatibility with various notation software. 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. Portamento Control: This control is related to Pitch bend above and will allow you to slide from note to note. This is particularly helpful with some instruments, such as the trombone. There is a knob that adjusts the portamento for instruments that use this function. Portamento (cc20) can be assigned to an external MIDI fader or drawn as graphic data in the user’s sequencer of choice. Its default setting is “off.” In general, slides between smaller intervals require greater values than slides between larger intervals. It is best to draw the data manually (for any specific notes that require slides) in your sequencer or to assign this feature to a separate hardware controller (cc20) for real-time control. You can also add varying amounts of portamento for smooth portamento effects (play two notes in a row and one will glide into the other). Vibrato Control: There are two controllers that affect vibrato. Aftertouch controls the intensity of the vibrato from no vibrato (Aftertouch = value of “0”) to exaggerated vibrato (Aftertouch = high number value.) Because both components of the vibrato are independently controllable the user can apply vibrato in a much more flexible and realistic fashion. The speed of the vibrato is controlled using cc17. Note that some keyboards, like those from M-Audio, have no Aftertouch function but can assign cc131 to a programmable slider which, in turn, will send Aftertouch data out to your computer. 22


Air Flow Noise: cc12 controls the sound of the air column moving through the instrument. This can be used for many things, from creating a “breathy” sound to subtly adding a little “grit” to the tone when used in small amounts. This sound is tied to the amplitude portion of the Vibrato control so that the air flow will pulsate in synchronization with the speed of the Vibrato. The default setting is “off.” 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.” Flutter Tongue/Growl sound: cc18 controls the level of the flutter tongue or “growl” effect. The default setting is “off.” Length Control: The default length is the natural length of the sample. As you adjust controller cc21, the length of the sample can be varied over a useful range (mostly shortened.) This can be used along with MIDI note length data and velocity strength to give a wider variety of articulation types ranging from very short and light to accented and forceful. Automatic Variability Control: These controls automatically introduce variability from note to note. There are two knobs in the Player for instruments that use this feature. One knob controls changes in intonation and the other controls changes in timbre. The VAR 1 knob that controls intonation (cc22) will introduce random tuning variations from note to note. In other words, each time a note is played it will be slightly detuned. The knob can make it unnoticeable to very noticeable. The other knob for VAR 2 (cc23) introduces random variations in timbre (EQ). The combination of both these variables randomly varying notes will provide a more human and less mechanical result. 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 but cc27 allows the user to modify the center frequency of this EQ function, if desired. Be careful not to modify the center frequency while a note is being sustained or you may get unnatural “sweep” artifacts. It is best set to a value for an entire track or modified to a fixed value between notes to affect all following notes. Breath noises: All wind instruments have samples of the player taking a breath, which can be inserted at phrase breaks in your tracks to add another touch of realism. There are a variety of breath types mapped to the top two octaves of the keyboard. They include quick “catch” breaths and more leisurely slow breaths to be applied to different situations. Mono Mode in Horns: All horns are programmed to be monophonic-only instruments. They only play one note at a time, as with real horns being played with normal techniques. Limiting the polyphony to a single voice makes the creation of convincing solo parts much easier, as it eliminates the possibility of accidental note overlaps. In fact, the tongue/slur programming would not work properly without this.

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Special Features in Both Trumpets and Trombones: Keyswitching Change Brass Mutes In Real-Time Keyswitching allows you to quickly and easily change the type of mute being used for trumpets and trombones. With a simple touch of a key located on the keyboard below the normal range of the instruments, you can rapidly switch between different mute patches on the fly without having to load multiple instruments. These keyswitch instruments are denoted by KS next to their name. When you press a key in the Key Switch area, the instrument will change to the desired mute. All patches initially load using the first keyswitch as the default (no mute – “open”) and any keyswitch remains active until another keyswitch message is received. In the Kontakt player, the keyswitched notes are displayed on the player keyboard in yellow and brown. Although it may be tempting to use your mouse to trigger one of the displayed Keyswitches in the Kontakt player, it is seldom recommended. The player’s graphic representation of keys, wheels, and knobs are primarily there for convenient testing. You must never use the mouse to trigger a key switch you want to record to a sequencer track or notation staff – the mouse action will not be recorded! When recording a track or entering notation, use your external MIDI keyboard to record the key switch note or manually enter the key switch note into your tracks.

Keyswitch Tips • •

•

Always put the keyswitching note for the particular instrument *before* the first note of the articulation you want to play, not on 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.

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Shakes: A hidden layer in the sustain pedal data (cc64, values 49-95) can be used to switch to a special layer designed to aid in playing or constructing convincing shakes (lip trills.) Real shakes can be played in a variety of ways with differences in the speed of the lip trill and the width of the interval of the lip trill. We didn’t want to limit the user to static recordings of shakes that would always result in the shakes 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. This approach also has the advantage of looking to the future of “scripting” where programming will eventually add considerable ease of use for this feature. For now, the user must do the shake construction manually with the supplied controls. The controllers that have been specially tailored for shakes are: velocity = attack strength; c28 = attack speed; cc20 = Portamento. A detailed explanation of how to use this feature will be included in a tutorial on the www.garritan.com site. Plunger Mute: There are two instruments in the library (one trumpet and one trombone) that use filtering to simulate plunger mute effects. cc16 controls the “open/close” action of the mute. This is another feature where a detailed explanation will be supplied in the User’s Guide.

Additional Features in Just the Trumpets: Release Effects: Trumpets in a Jazz context often release notes in unusual ways. The three most common are: “Falloffs,” “Doits,” and “Kisses.” In Jazz and Big Band these effects can be chosen with cc15. They are switched as follows: Value 0-32 = off Value 33-48 = Falloffs Value 49-95 = Doits Value 96-127 = Kisses The Falloffs and Doits apply to a 2 octave area of the trumpet range. The Kisses apply to only the high concert Bb and above. Notes that lie outside the specified range will give no effects. This is not a malfunction. See the chart for range information. Note: The above features apply to the trumpets but similar effects can apply to the trombones as well. Since trombones usually accomplish falloff and doit-like effects with the slide, pitchbend is used for this purpose in Jazz and Big Band. Trombones do not tend to use kisses on high notes so that feature has been omitted for trombones. Note: The order of brass instruments in JABB (Trumpet 1, Trumpet 2, etc.) is of no particular significance. The instruments vary in tone and should be auditioned to determine the one most appropriate for a particular application. As an example: Each one of the trumpets could be used for the lead trumpet part (within range considerations) and each will sound somewhat different from the others.

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Controls for the Rhythm Section Basses The library contains two upright acoustic basses, one arco upright acoustic bass, two fretless electric Jazz basses, and two fretted electric Jazz basses. It should be noted that Upright Bass #2 is contributed by the inimitable Chuck Israels! Controllers for the basses include: Velocity = volume Pitchbend = +/-2 semitones cc12 = Fundamental intensity (strength of the “bottom end” of the instrument sound) cc13 = Finger noises (adds finger noises like clicks and snaps – velocity sensitive) cc18 = Attack speed (affects the sharpness of the attack) cc20 = Portamento (controls slides between notes) cc21 = Length (controls the length of the decay of the notes) cc22 = VAR 1 (adds random variations in tuning from note to note) cc23 = VAR 2 (adds random variations in timbre from note to note) cc26 = Midrange EQ (a midrange tone control) cc27 = Midrange center frequency (adjusts the character of the midrange tone control) cc28 = High frequency EQ (a high frequency tone control)

Additional controllers for the upright acoustic basses: Sustain pedal = Switches to the open strings for certain notes(pedal mode 2) Special mapping: C5-E5 = finger slide noises can be inserted using notes beyond the upper range of the instrument. Additional controllers for the arco upright bass: Mod wheel = Volume/timbre Velocity = Attack strength Sustain pedal = legato (pedal mode 2) cc19 = Pitchbend defeat Key switches: C-1 = Arco D-1 = Automatically alternating up and down bows G-1 = Playable tremolos

Additional controller for the electric basses: C0 = standard plucks Key switches: D0 = harmonics

Special mapping: C5-E5 = finger slide noises

Keyboards Keyboard choices include a Steinway piano, a vintage electric piano, and an accordion. The Steinway Jazz Piano is included in two versions: A full version and a “lite” version for those who need to conserve memory. Both pianos have a brightness control to adjust the high frequency content of the instrument for adapting to different mixing situations. The pianos use the following controllers: Velocity = Volume/timbre Sustain pedal (cc64) = Sustain (pedal mode 1) cc20 = Brightness 26

Garritan JAZZ & BIG BAND Users Guide The Vintage Electric Piano is one of the most popular suitcase-style instruments. The tremolo effect modulates between stereo speakers in the support base of the keyboard. It uses the following controllers: Velocity = Volume/timbre Sustain Pedal (cc64) = Sustain (pedal mode 1) Pitchbend range = +/-12 semitones cc22 = Tremolo level cc23= Tremolo speed cc26 = Midrange intensity cc28 = Brightness

Vibraphones Vibraphones are available in both hard and soft mallet choices. Both use the following controllers: Velocity = Volume/timbre Sustain pedal (cc64) = Sustain (pedal mode 1) Pitchbend range = +/-12 semitones cc20 = Attack speed cc21 = Brightness cc22 = Tremolo intensity cc23 = Tremolo speed

Guitars There are two guitars: acoustic and electric. The acoustic guitar is a 10 string model that is recorded in stereo. The electric guitar is recorded monaurally. Both guitars have been programmed with the future implementation of scripting in mind to create realistic strumming and other techniques. Controllers for guitar are as follows: Velocity = Volume/timbre Sustain Pedal (cc64) = Sustain (pedal mode 1) Pitchbend = +/-7 semitones Aftertouch = Vibrato intensity cc13 = Finger noise intensity cc17 = Vibrato speed cc20 = Portamento cc21 = Length cc22 = VAR 1 cc23 = VAR 2 Keyswitches: C0 = standard plucks D0 = harmonics Special mapping: C7-D#8 = slides, taps, slaps Tip: The guitars (especially the electric guitar) can be used with amp, tube, distortion, and other audio plugins to greatly modify the basic sound of the instrument. These plugins are often included with sequencing software or are available separately from third party developers.

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Drums The drums are recorded “in place” in true stereo using an ORTF microphone arrangement for all instruments except the bass drum. There are three distinctly different drum kits included, with specific purposes for each. There is the Classic Jazz kit which uses vintage single layer heads for the sound that is so closely associated with the great tradition of Jazz drummers; there is a Fusion kit that uses double layer heads for the tighter, drier sound that has become so popular in the last few decades; and there is a unique Brush drum kit (played with wire brushes) that will give the user the opportunity to do ballads and other brush grooves that were extremely difficult to accomplish with previous libraries. There are complete kits for convenient sketching and separate bass drum, snare, toms, hi hat, and cymbals for more detailed mixing treatment. Note: The same Cymbal files are duplicated in each of the drum folders for user convenience. Keep in mind that all Cymbal files are nevertheless identical. The cymbal files contain a wide variety of cymbals choices for many possible uses. Note: The hi-hat is divided into closed, half open, open and foot closed samples. All of these are assigned to an exclusive group so that any sample in the group will be cut off by another sample in the group. For example, if you hit the open hi hat and then quickly hit the foot closed hi hat, the open hi hat will stop sounding as soon as the foot closed sample begins.

There are two General MIDI kits: One for Classic Jazz and one for Fusion. The layout follows the General MIDI specifications with one exception: The snare drum on MIDI note 40 is an acoustic, not an electric, snare. The two General MIDI kits have identical percussion samples, only the bass drum, snare, toms, and hi hat differ. Note: See appendix for detailed mapping information.

The Primary Controller for All the Drums is: Velocity = Volume/timbre Other controllers: cc22 = VAR1 (Random variations in intonation) cc23 = VAR2 (Random variations in timbre) Pitchbend = +/-12 semitones

The Brush Drum Kit:

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

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Snare Drum Brush Stirs: C#1 (midi note 37) = initiates the continuous brush stir sound Velocity = strength of the first brush push Aftertouch = change of stir direction In Jazz and Big Band, stirs are best played from a keyboard that supports Aftertouch. A stir begins as soon as the C#1 note is depressed and held. The strength of the initial push of the brush stir is directly related to how hard the key is struck (velocity.) The stir will continue as long as the key is held but one of the most important characteristics of the brush stir is the figure 8 pattern used between hands and the brush direction change that takes place during this pattern. In Jazz and Big Band the direction change can be made at any time by briefly pressing harder on the held C#1. Press just long enough to simulate the direction change and then quickly reduce the pressure on the key (without releasing it.) With a little practice, and some careful listening to real brush work, you will be able to simulate brush stirs with uncanny accuracy and ease. All of the data can be recorded to your sequencer tracks, so you will be able to edit the stirs with as much attention to detail as you wish. Because the stirs reside in the tracks as note and Aftertouch data many things can be modified including the tempo – at any time. If you decide that you want your piece of music to be 150BPM rather than 130BPM, just change the sequencer tempo data and the stirs will follow the tempo change. It will even follow continuous changes in tempo if you like. There are virtually no tempo limits, except those that would apply to a real player (if you push the tempo faster than a real player could manage the results will likely sound rather odd.) If you don’t have a keyboard with Aftertouch support, the Aftertouch data can be assigned to a hardware fader or knob. It could also be drawn directly into your snare drum track using the tools in your sequencer. Look for a section in the User’s Guide to illustrate the use of the brush drum kit.

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

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

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

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

Flutes and Clarinets

Saxophones

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

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

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Trumpets

Trombones

Bass Trombone

Tuba

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

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

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

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

Notation Version of Jazz & Big Band The Jazz & Big Band Library contains a separate Notation folder with instruments that are programmed with important differences which make them more compatible with the way most notation programs handle MIDI data. The biggest general difference: All instruments in the notation version use the Kontakt Player’s Pedal Mode 1, “Standard Sustain.” Most of the differences in programming are a consequence of this fundamental difference in pedal modes. The programming differences are: Tongue/slur – controlled by cc68 rather than cc64. This difference applies to all woodwinds and brass instruments. Please note that instruments which normally use standard sustain pedal (e.g. Piano) continue to use cc64 for the sustain function. Pitchbend range – extended to +/-12 semitones for all instruments. Keyswitches – All notation version keyswitches consistently reside in the bottom octave of the MIDI spec (between C-2 and B-2) for all instruments. Note: The cc7 and cc10 Option in the Kontakt player should be active to allow notation programs to control relative MIDI volume and panning.

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Putting It All Together for a Real-Time Performance The basic system is to use your right hand to control the attack of each notes; Mod Wheel, in the left hand, to control dynamics; and the sustain pedal to connect the notes. It couldn’t be easier! With the more advanced controls you can fine tune your performance. Some keyboards supply an array of assignable sliders and knobs which can be used for the many additional MIDI controllers used in this library. With this approach you play your articulations in real time in much the same manner as a true player does. Using both hands and feet to perform the different tasks simultaneously requires some coordination. The key is to start simple and to realize that you do not have to do it perfectly the first time. The best way to learn is to practice playing just the notes with one hand. Learn the fingerings for the notes and apply the accents, where appropriate. Once you are acquainted with the notes and the accentuation, gradually add the other controllers. For example, play a melody with the right hand, and then gradually ride the Mod Wheel for expression. Then add the sustain pedal for legato phrasing. Soon you’ll develop coordination, and by combining the different controls in real-time you’ll have an unlimited amount of expressive capabilities. Once you get the hang of it, you can play almost anything that comes to your musical imagination. Create ensembles of your choosing with individual instruments. By using the real-time performance controls to expressively play each instrument, when you put it all together the result will be extraordinary.

Building Sections from Individual Instruments With Garritan Jazz & Big Band, you can build instrumental sections, one instrument at a time, exactly the way you want. This is a unique and intuitive approach to jazz arrangement using samples. When you create a section from separate instruments performed individually, with variations in timing and expression, you can achieve a very realistic performance. You can assign instruments of a section to different MIDI channels so that you can have individual parts for each player. Or, you can assign multiple instruments all to a single MIDI channel to create automatic ensemble unisons. When you start building sections from separate instruments, with all the instruments playing individually, it will sound incredibly realistic. To learn more see the Ensemble Building tutorials on the www.garritan.com website.

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Directory of Instruments in Garritan Jazz & Big Band The following directory gives the name and a brief description of the Garritan Jazz & Big Band instrument sounds contained in Garritan Jazz & Big Band. There is also a chart of the available controllers for each instrument. MW = Mod Wheel Expression Control; Vel = Note Velocity for Accents and Attack; Vel (vol) = Note Velocity for Volume control; Tng/Slr = Sustain Pedal tongue/slur control; Sus (sus) = Sustain Pedal for normal sustain control; AF = Air Flow or bellows noise; KC = Keyclick, valve, or finger noises; RFX = Release effects such as falloffs, doits and kisses; Vib = Vibrato; Fltr/Grl = Flutter tongue/ Growl effect; PBd = Pitchbend disable; Port = Portamento control; Lgth = Length control; VAR 1 is automatic Variability of intonation; VAR 2 is automatic Variability of timbre; TQ = Tone Quality adjustment; Trm = Tremolo; Brth = Breath sounds; Sk = Shakes; Brsh = brush stirs; Plgr = Plunger mute; and KS represents Key Switching. For detailed information about the controllers, please refer to the chapter entitled “Playing Jazz & Big Band” in this guide.

THE RHYTHM SECTION INSTRUMENTS nki name:

Brush Snare Drum 1

Description: Wire brushes, snare #1; combines bass drum, snare, toms, hi hats, and cymbals into a single instrument. Wire brushes, snare #2; combines bass drum, snare, toms, hi hats, and cymbals into a single instrument. Wire brush hits on the various cymbals in the brush kit. Wire brush hits on 15” high hat hits; A Zildjian on top and Paiste on bottom. Wire brush stirs and hits on a Yamaha 4x14” maple snare drum.

Brush Snare Drum 2

Wire brush stirs and hits on a Gretsch 5x14” maple snare drum.

Brush Toms

Wire brush hits on Gretsch tom toms; 16 x 16” floor tom, 9 x 13” rack tom, 8 x 12” rack tom; Remo coated heads. Bass drum hits from the classic kit; 20” x 14” Gretsch with various heads.

01 Brush Drum Kit 02 Brush Drum Kit Brush Cymbals Brush HiHat

Sgl-layr-hd Bass Drum 03 Classic Jz Drum Kit 03 Classic Jz Drum Kit Lite 14inHiHat2 15inHiHat Cymbals Cymbals Lite Sgl-layr-hd Bass Drum Sgl-layr-hd Piccolo Snare Sgl-layr-hd Snare Sgl-layr-hd Toms 04 Fusion Drum Kit 04 Fusion Drum Kit Lite 14inHiHat1 Cymbals Cymbals Lite Dbl-layr-hd Bass Drum Dbl-layr-hd Piccolo Snare Dbl-layr-hd Snare Dbl-layr-hd Toms GM Classic Jazz Drum Kit GM Fusion Drum Kit

Single layer heads for snare, toms, and kick. Does not use General MIDI mapping on all notes. Uses less memory than the main Classic Jazz Kit. 14” high hat hits. 15” high hat hits; A Zildjian on top and Paiste on bottom. Selection of ride, crash, splash cymbals and some unusual additions like garbage can lids and saw blades. See Appendix B. Contains primary cymbal choices. Bass drum hits from the classic kit; 20” x 14” Gretsch with various heads. Smaller higher pitched snare hits. Hits on the classic jazz kit snare drum; Ludwig 5 x 14” snare with Remo Renaissance Diplomat head. Hits on the classic kit toms; 16 x 16” Gretsch floor tom, 9 x 13” Gretsch rack tom, 8 x 12” Gretsch rack tom, Remo coated heads. Double Layer heads for snare, toms, and kick. Does not use General MIDI mapping on all notes. Uses less memory than the main Fusion Drum Kit. 14” high hat hits; A Zildjian Newbeats. Selection of ride, crash, splash cymbals and some unusual additions like garbage can lids and saw blades. See Appendix B. Contains primary cymbal choices. Bass drum hits from the 14 x 22” Gretsch with various heads and pillow muffles. Smaller higher pitched snare hits. Hits on the Ludwig 5 x 14” snare with Remo pinstripe head. Hits on Gretsch fusion kit toms; 16 x 16” floor tom, 9 x 13” rack tom, 8 x 12” rack tom; Remo Pinstripe heads. General MIDI layout using Classic Jazz Kit sounds in the first octave and a half. General MIDI layout using Fusion Drum Kit sounds in the first octave and a half.

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Controls: Vel (vol); Brsh; VAR 1; VAR 2 Vel (vol); Brsh; VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); Brsh; VAR 1; VAR 2 Vel (vol); Brsh; VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2


Whistles

Bata drums are double-headed drums from Cuba. A set of two small connected drums typically held between the knees and played with the fingers. Cajónes is a wooden hollow box-like instrument used in Andean, Cuban, and Flamenco music. The most important hand drum in Latin music. A tall narrow single-headed drum usually grouped in sets of varying sizes. A Brazilian friction drum. Sound is produced by rubbing a small stick on the drum’s inside membrane. A goat skin covered drum shaped like a large goblet and played with bare hands. A small hand-held Brazilian instrument consisting of a round wooden frame, with six pairs of metal discs fit along the sides. A smaller conga drum primarily used for soloing. The largest of the conga drums. Large cylindrical drums with two heads typically played with a large mallet while the free hand muffles the drum. A custom instrument consisting of a wooden box struck in various ways. A set of two open-bottomed metal drums mounted side by side on a metal stand and played with wooden sticks. A large conga drum with a rich low tone often used in Cuban music. A percussion instrument made of clay that possesses distinct tonal qualities which range from subtle bass tones to tabla-like tones. An instrument consisting of loops of steel ball chains wrapped around a wide cylinder that produces rhythmic scraping sounds. An instrument made out of metal that is cylindrical in shape with many small round indentations. A Latin percussion instrument made of a hollow gourd with a grooved or serrated surface, played by scraping with a stick. A Latin percussion instrument consisting of a hollow-gourd rattle containing pebbles or beans and often played in pairs. Calabash gourds strung with beads, used for percussion. A hand shaker consisting of a hollowed small gourd with shells or beads attached to it A percussion instrument, consisting of a pair of short, thick wooden dowels hit together to produce a high-pitched sound. A modern versions of wood blocks made of plastic rather than wood. A hollow block of wood struck with a stick to produce percussive sounds. A multi-chambered steel instrument that is beaten like a cow bell and frequently heard in samba and salsa music. A large handheld bell also called a campana. The small bell often mounted on the timbales. Typically associated with Cha-Cha and Salsa style music. Oblong bells specially designed to be mounted on your timbales. Hand tuned from Middle C to the 4th an octave above. A pair of hollow pieces of wood usually held between the thumb and fingers that produce a clicking sound. The clapping together of the hands and the snapping of fingers. The jawbone of an animal used as a percussion instrument that when struck, the teeth rattle. A percussion instrument consisting of a hollow tube filled with small pebbles that make the sound similar to falling rain. An instrument consisting of a small drumhead with metal discs in the rim, usually played by shaking and striking with the hand. Percussion instruments consisting of a piece of metal in the shape of a triangle open at one angle. Small wind instruments for making whistling sounds.

Fretless Bass 1

G&L L1000 fretless electric bass.

Fretless Bass 2

Fretless 1972 fretless electric bass.

Bata Bongos Cajones Conga Cuica Djembe Pandeiro Quinto Super Tumba Surdu The Box Timbales Tumba Udu Cabassa Guira Guiro Maracas Shakers Shekere Clave Jam Block Woodblock Agogo Bells Bongo Bells Cha Cha Bells Timbale Bell Castinets Handclaps - Fingersnaps Jawbone Rainstick Tambourine Triangles

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Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); Port; Lgth; VAR 1; VAR 2 Vel (vol); Port; Lgth; VAR 1; VAR 2

Garritan JAZZ & BIG BAND Users Guide Jazz Fretted Bass 1

Fender Fretted electric bass with flat wound strings.

Jazz Fretted Bass 2

G&L 2000 Fretted jazz electric bass.

Upright Bass 1

Upright acoustic bass, standard “walking” plucks; made by Hammond-Ashley. Chuck Israels’ French Mirecourt upright acoustic bass, circa 1880’s, standard “walking” plucks. Chuck Israels’ upright acoustic bass played in arco style with a bow.

Upright Bass 2 Upright Bass 2 Arco

Vibraphone Hard Mallet

Petosa jazz accordion, right hand keyboard plus one octave of bass keys. Steinway Model B Grand Piano, chromatic with 2 dynamics. Uses less memory than the full version. Fender Rhodes, circa 1970’s, suitcase model with stereo tremolo speakers in the base. Yamaha Vibraphone played with custom made hard beaters.

Vibraphone Soft Mallet

Yamaha Vibraphone played with Jackson soft beaters.

Acoustic Guitar

Oribe nylon 10-string guitar, 1971; range extends down to the “A” below the traditional “E.” Additional open strings are included. Gibson ES-175 Handcrafted Electric Guitar. This model is regarded as one of the most popular guitars of the jazz world.

Accordion Steinway Jazz Piano Steinway Jazz Piano Lite Vintage Electric Piano

Electric Guitar

Vel (vol); Port; Lgth; VAR 1; VAR 2 Vel (vol); Port; Lgth; VAR 1; VAR 2 Vel (vol); Port; Lgth; VAR 1; VAR 2 Vel (vol); Port; Lgth; VAR 1; VAR 2 MW; Vel; PBd; Port; Lgth; VAR 1; VAR 2 Vel (vol) Vel (vol); Sus (sus); TQ Vel (vol); Sus (sus); TQ Vel (vol); Sus (sus); Trm; TQ Vel (vol); Sus (sus); Trm; TQ Vel (vol); Sus (sus); Trm; TQ Vel (vol); Port; Lgth; VAR 1; VAR 2 Vel (vol); Port; Lgth; VAR 1; VAR 2

THE WOODWIND INSTRUMENTS nki name:

Bb Clarinet 1

Description: The Bass Clarinet plays one octave lower than the conventional clarinet. Buffett R-13 wood clarinet; 1st Player.

Bb Clarinet 2

Buffett clarinet; 2nd Player.

Bb Clarinet 3

Buffett clarinet; 3rd Player.

Alto Flute

Armstrong Alto Flute, circa 1970

Flute 1

C Flute; made by Muramatsu. 1st Player.

Flute 2

C Flute; 2nd Player.

Flute 3

C Flute; 3rd Player.

Piccolo

Yamaha ebony piccolo, circa 1970.

Alto Sax 1

Eb Alto saxophone; made by Buffet

Alto Sax 2 Alto Sax 3

Eb Alto saxophone; made by Selmer, Balanced Action. Eb Alto saxophone; made by Selmer, Mark VI.

Bari Sax 1

Baritone saxophone; made by Bundy.

Bari Sax 2

Baritone saxophone; made by Bundy; different microphones than Bari Sax 1. BBb Bass Saxophone; made by Selmer.

Bass Clarinet

Bass Sax 1

C Melody Sax 2

BBb Bass Saxophone; made by Selmer; different microphones than Bass Sax 1. C Melody saxophone; made by Buescher; different microphones than C Melody Sax 1. C Melody saxophone; made by Buescher.

Contrabass Sax 1

EEb Contrabass Saxophone; made by Orsi.

Bass Sax 2 C Melody Sax 1

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

Garritan JAZZ & BIG BAND Users Guide Contrabass Sax 2 Mezzo Soprano Sax Sopranino Soprano Sax 1 Soprano Sax 2

EEb Contrabass Saxophone; made by Orsi; different microphones than Contrabass Sax 1. F Mezzo-soprano Saxophone; made by Conn. Eb Sopranino Saxophone; made by Orsi. Smallest instrument of the saxophone family recorded for this library. Bb ‘Straight’ Soprano saxophone; made by Conn. Bb ‘Curved’ Soprano saxophone; made by Conn.

Tenor Sax 1

Bb Subcontrabass saxophone, also known as the "Tubax"; custom made by Benedikt Eppelsheim. Bb Tenor saxophone, made by Selmer Mark VI

Tenor Sax 2

Bb Tenor saxophone; made by Selmer.

Tenor Sax 3

Bb Tenor saxophone; made by Yamaha.

Tenor Sax 4

Bb Tenor saxophone; made by Selmer; a mellower sound.

Subcontrabass Sax

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

THE BRASS INSTRUMENTS nki name:

Description: Conn Bass Trombone. Plays one octave lower than a conventional trombone. Bass Trombone played with the Straight mute.

Controls: MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk 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 Harmon Mute

Bass Trombone played with the Harmon mute. Bass Trombone played with the Bucket mute. Keyswitched combination of open and all mutes. Keyswitched combination that uses less memory than main KS instrument.

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

Bass Tbone Open (no mute) Bass Tbone Straight Mute

Bass Tbone Bucket Mute Bass Tbone KS Bass Tbone Lite KS Tbone 1 Open (no mute)

Trombone; made by Holton.

Tbone 1 Straight Mute

Trombone 1 played with the Straight mute.

Tbone 1 Cup Mute

Trombone 1 played with the Cup mute.

Tbone 1 Harmon Mute

Trombone 1 played with the Harmon mute.

Tbone 1 Bucket Mute

Trombone 1 played with the Bucket mute.

Tbone 1 KS Tbone 1 Lite KS

Keyswitched combination of open and all mutes. Uses less memory than main KS instrument.

Tbone 2 Open (no mute)




Tbone 2 Cup Mute


Tbone 2 Harmon Mute


Tbone 2 Bucket Mute


Tbone 2 KS


Tbone 2 Lite KS

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

Garritan JAZZ & BIG BAND Users Guide Tbone 3 Open (no mute)




Tbone 3 Cup Mute


Tbone 3 Harmon Mute


Tbone 3 Bucket Mute


Tbone 3 KS


Tbone 3 Lite KS


Mellower tone and more extended range. Good for solo work. Trombone 4 played with the Straight mute.

Tbone 4 Cup Mute


Tbone 4 Harmon Mute


Tbone 4 Bucket Mute





Trombone 5, made by Conn.



Tbone 5 Cup Mute


Tbone 5 Harmon Mute


Tbone 5 Bucket Mute




Tbone Plunger Mute

Features playable open/close plunger.

Flugelhorn 1 Flugelhorn 2

Flugelhorn in Bb; made by Getzen Eterna; principal instrument. Flugelhorn in Bb; derived instrument.

Flugelhorn 3

Flugelhorn in Bb; derived instrument.

Flugelhorn 4

Flugelhorn in Bb; derived instrument.

Flugelhorn 5

Flubelhorn in Bb; derived instrument.

Tpt 1 Open (no mute) Tpt 1 Straight Mute

Trumpet in Bb with extreme range extension to the “triple high C” (concert Bb) for the open horn; made by King-Golden Flair. Trumpet 1 played with the Straight mute.

Tpt 1 Cup Mute

Trumpet 1 played with the Cup mute.

Tpt 1 Harmon Mute

Trumpet 1 played with the Harmon mute.

Tpt 1 Bucket Mute

Trumpet 1 played with the Bucket mute.

Tpt 1 KS

Keyswitched combination of open and all mutes.


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


Tpt 2 Straight Mute

Uses less memory than the main KS instrument. Trumpet in Bb with range extension to the “double high C concert”; made by Calicchio. Trumpet 2 played with the Straight mute.

Tpt 2 Cup Mute


Tpt 2 Harmon Mute


Tpt 2 Bucket Mute


Tpt 2 KS

Tpt 3 Straight Mute

Keyswitched combination of open and all mutes. Uses less memory than the main KS instrument. Trumpet in Bb with range extension to the “double high C concert”; made by Bach. Trumpet 3 played with the Straight mute.

Tpt 3 Cup Mute


Tpt 3 Harmon Mute


Tpt 3 Bucket Mute


Tpt 3 KS


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

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

Tpt 4 Straight Mute

Trumpet in Bb with range extension to the “double high C” (concert); made by KingGolden Flair. Trumpet 4 played with the Straight mute.

Tpt 4 Cup Mute


Tpt 4 Harmon Mute


Tpt 4 Bucket Mute


Tpt 4 KS




Tpt 5 Straight Mute

Trumpet in Bb with range extension to the “double high C” (concert); made by KingGolden Flair. Trumpet 5 played with the Straight mute.

Tpt 5 Cup Mute


Tpt 5 Harmon Mute


Tpt 5 Bucket Mute


Tpt 5 KS



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

Tuba

Bb Tuba


Tpt 1 Lite KS Tpt 2 Open (no mute)




Tpt 5 Lite KS

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

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

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

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

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


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

Accordion Trio Big Band Rhythm Section Fusion Quartet Jazz Piano Trio Lite Jazz Quintet Jazz Sextet Sax Section Trombone KS Section Trombone Lite KS Section Trumpet KS Section Trumpet Lite KS Section Vibraphone Quartet

Instruments Included: Upright Bass 1; Acoustic Guitar; Accordion 03 Classic Jazz Drum Kit Lite; Upright Bass 2; Steinway Jazz Piano Lite; Electric Guitar 04 Fusion Drum Kit Lite; Fretless Bass 1; Vintage Electric Piano; Tenor Sax 1 03 Classic Jazz Drum Kit Lite; Upright Bass 2; Steinway Jazz Piano Lite 03 Classic Jazz Drum Kit Lite; Upright Bass 2; Steinway Jazz Piano Lite; Tenor Sax 1; Flugelhorn 1 03 Classic Jazz Drum Kit Lite; Upright Bass 2; Steinway Jazz Piano Lite; Tenor Sax 1; Tpt 5 Open; Tbone 4 Open Alto Sax 1; Alto Sax 2; Tenor Sax 1; Tenor Sax 2; Bari Sax 1 Tbone 1 KS; Tbone 2 KS; Tbone 3 KS; Tbone 4 KS; Bass Tbone KS Tbone 1 Lite KS; Tbone 2 Lite KS; Tbone 3 Lite KS; Tbone 4 Lite KS; Bass Tbone Tpt 1 KS; Tpt 2 KS; Tpt 3 KS; Tpt 4 KS; Tpt 5 KS Tpt 1 Lite KS; Tpt 2 Lite KS; Tpt 3 Lite KS; Tpt 4 Lite KS; Tpt 5 Lite KS 03 Classic Jazz Drum Kit Lite; Upright Bass 1; Vibraphone Hard Mallet; Electric Guitar

Tip: If you have the full version of Kontakt you can construct your own Multis by loading one of the included Multis, modifying it and saving it as a Multi under a new name. You will also need to modify the text file for the newly created Multi to reflect any changes in included instruments.

The World of Sampling and Virtual Instruments Garritan Jazz & Big Band is a complete collection of actual high-quality recordings (or samples) of nearly every note, of each musical instrument commonly used in a Jazz and big band context. When Garritan Jazz & Big Band is loaded and you play a note on your keyboard, what you hear sounds remarkably like the real thing, because it is an actual recording of an instrument. Developed in the early eighties, sampling technology has grown substantially. Sampling is now everywhere. Many movies, prime-time television shows and interactive games use sampling technology. Now everyone can have a jazz and big band in their computer. With Garritan Jazz & Big Band, the sample player is integrated with the sounds effectively turning a computer into a band of virtual instruments. Tip: Don't overlook the possibility of combining Jazz and Big Band instruments with GPO or other orchestral libraries. JABB instruments can expand your palette of sounds for many musical applications, not just Jazz.

41


How the Kontakt Player Works The Basic Interface The Kontakt Player allows you to load and customize Garritan Jazz & Big Band sounds to be used for playback. The Kontakt Player consists of several main parts: the Virtual Rack, the Instrument Header, the Controls and the Virtual Keyboard. This section will familiarize you with the Kontakt Player interface. It can get a little technical but stay with it.

1. Virtual Rack When you first start the Kontakt Player your will see a strip across the top where Instruments 1 through 8 are represented. Each of these eight boxes in the virtual rack can be selected in order to load an instrument or “Multi” (several instruments). Each Kontakt Player can load up to eight instruments or individual Multis at one time. The number of Kontakt Players you can load depends on your host application or sequencer and the power of your computer.

2. Instrument Header

The Instrument Header is where most of what you will be doing with Kontakt Player will take place. Here you can select system instrument information and adjust the instrument parameters. When you first start Kontakt Player, no instruments are loaded and “Empty Instrument” will appear in the header. 42

Garritan JAZZ & BIG BAND Users Guide To load new Instruments, select an empty box in the virtual rack so that it becomes highlighted. Then press the large button labeled “Load.” A drop-down menu appears with all available instruments. Clicking on the desired instrument from the list loads it into the selected slot. The loaded instrument’s name will appear in the Instrument Header and in the instrument strip above. The up and down buttons that appear above the “Load” button allow the user to quickly scroll through the available instruments within an instrument group (i.e. winds, brass, keyboards, etc.) without loading them through the menu. There are various parameters in the Instrument Header: •

Load: Drop-down menu of all available instruments to load. The “load” button has up and down arrows for choosing “next” and “previous” instruments from the list for rapid sequential loading.

• •

Name: Shows the name of the instrument currently loaded. Options: Clicking on this button opens the “General Options” dialog window where you can adjust additional settings.

o

o o o o

Sustain/Sostenuto Pedal Mode: Use this to set the behavior of any foot pedals. This is set by default to “No Sustain/Sostenuto Operation, but MIDI controller.” to engage the legato sustain feature for winds and brass instruments, To play sustain instruments, such as a piano, the first option “Normal Sustain/Sostenuto Operation” must be selected. All Kontakt Player instances must be set to the same configuration Master Tune: Adjust the overall tuning of Kontakt in cents. Auto-Convert Samples to 32-bit: Enable this to convert all loaded samples to high resolution 32-bit format. Display Mapping on Keyboard: Enable this to show the keymapping of each Instrument via colored keys. Lock Memory (No Swap): If you have sufficient RAM, disabling this will allow for quicker loading.

43

Garritan JAZZ & BIG BAND Users Guide Library Directory: Clicking on this button allows the user to point the Kontakt Player to the default location of the GPO library on the user’s computer in the event that they are installed in a location different than the default. This is useful if you need to move the library to another location due to hard drive storage issues. This will ensure that all of your saved performances load and play back correctly. o Use Computer Keyboard for Playback: This is meant for auditioning purposes only. This option allows you to play your computer keyboard as if it were a midi keyboard. Your notation/sequencing software will not respond to this, it is meant to audition the sounds of GPO through the Kontakt Player only. o Use Std. CC#7/CC#10 Volume & Pan: Sets Kontakt Player to recognize the standard MIDI assignments for volume and pan controllers. o DFD Options: Direct from Disk streaming (DFD) is not required nor is it recommended to run the library if you have sufficient RAM. In fact, there are certain performance drawbacks to using streaming because the library was specifically designed to run in RAM. If you choose to use it here are the settings: Active/Inactive Button: Toggles the DFD function on or off. Presets: A list of commonly used DFD settings presets for your convenience. Most users will need to tweak the DFD settings to get the best performance on their computers. The presets are: Normal (medium polyphony/medium memory), High Performance (medium polyphony/high memory), Large Instrument (low polyphony /high memory) and Small Instruments (high polyphony/medium memory). o Preload Buffer Size (Per Sample): This controls the amount of data is preloaded into your computers RAM when using DFD. The higher the value, the more sample data preloaded into RAM. Depending on hard drive speed, this can be set to a higher value for better performance while loading more data into RAM. o Voice Buffer Size: This is the amount of RAM that each instance of the Kontakt Player will take up with no instruments loaded. o Reserved Voices: This controls the amount of voices the player will attempt to play at once without ‘stealing’ voices. This process is retroactive and will steal the earliest played notes. o Bypass the Disk Cache: Only used when using a large preload buffer, this will bypass the disk cache when streaming the samples with DFD. This can give you a performance increase when using a large preload buffer. o Mem. Total: The total memory loaded into RAM for this Kontakt Player instance. CPU Usage: Shows the amount of your processor being used in percent. Key Range: This represents the keyboard range covered by the instrument. The range can be restricted by scrolling the numbers. Total Memory: This is the total amount of memory used by all samples for all slots. o

• • • •

MIDI IN: Here you can choose a MIDI channel on which the Instrument receives MIDI data. By default, instruments load in consecutive MIDI channels. The user can select a MIDI channel (or OMNI) by clicking on this field and selecting the desired MIDI channel from the list. When the Instrument receives MIDI data, the small MIDI icon will flash.

•

Polyphony: The left digit indicates the number of notes being played at any given time. Click on the right field and drag up to increase the number of notes the instrument can play, or drag down to decrease. Most solo instruments are automatically set to “1” for mono mode operation.

•

RAM Usage Indicator: Displays the size of all samples loaded into RAM for the current instrument. This is not an editable parameter.

•

Instrument Output Channel: Kontakt Player offers multiple outputs with flexible routing possibilities. The Output selector chooses an output for the instrument. The number of outputs you can choose depends on the hardware you are using.

3. The Virtual Keyboard & Pitch Wheel/Modulation Wheels

44

Garritan JAZZ & BIG BAND Users Guide The Kontakt Player virtual keyboard will allow you to audition the sound of each instrument in the score by simply clicking on the keys on the screen with your mouse. Note: Clicking on the graphic keys, moving the mod wheel, etc. in the player will not be recorded to your sequencer. This must be done from your sequencer tracks or an external keyboard controller. If you have a MIDI keyboard connected, you may play the samples using your keyboard as well. To the left of the keyboard are standard pitch and modulation wheels. To transpose, use the arrows below the Mod Wheel to transpose the keyboard up or down one octave.

4. Control Knobs Most of the controls are operated with knobs. There are standard knob controls (Volume, Pan, and Tuning) for all instruments as well as additional controls that affect specific instruments. To change a knob value, click on it and drag up to move the knob clockwise, or drag down to move it counter-clockwise. Some knobs can be fine-tuned if you hold down your computer keyboard’s Shift key as you move the knob. Ctrl + Click (Mac: Cmd + Click) resets a knob to its default value. Some parameters allow changing the type of units displayed; click on the unit, and choose another type from the drop-down list that appears. It is recommended that you use a midi controller or sequencer to control the instrument specific controls. These standard controls can also be automated through a sequencer or midi controller if needed. The five knobs in Garritan Jazz and Big Band can be given default load values in the accompanying instrument text files. Initial values have been supplied by us but the user is free to modify these settings. The text files are located in the same folders as the instrument files. Each instrument has an identically named text file. In the text file the knob names are listed (in order) followed by the values for the knobs (in order.) Most users will never need to modify these values but they are available for advanced users who wish to make custom modifications.

Standard Controls (Volume, Pan and Tuning) • • •

Tune: This changes the Instrument's master tuning, up to +/-12 semitones (one octave). To fine tune in cents (1/100th of a semitone), hold down the shift key while dragging the mouse. Pan: This control determines the instrument's location in the stereo field. For fine adjustments, hold down the shift key while dragging the mouse. Volume: The instrument's master level control. Holding the shift key while dragging provides fine adjustments.

Specific Controls for Garritan Jazz & Big Band In addition to the standard controls, there are up to five controllers that can control predefined parameters set for specific instruments in the Garritan Jazz & Big Band library. These specific parameters are visible upon opening each Instrument and enable you to control the amount of each effect. The most common knob assignments are these: •

Portamento (Port) - All wind and brass instruments have this graduating slide function (CC#20) for the legato function. This is especially useful for instruments like the where slides are a normal characteristic. It can also be useful with other wind instruments to simulate the way movement by larger intervals “settles into” the destination pitch. 45

Garritan JAZZ & BIG BAND Users Guide • • •

Length - (MIDI controller #21) – This controller lets the user control the length of the samples. This controller is useful for simulating double/triple tonguing on the brass and wind instruments. VAR1 - (MIDI controller #22) - This controller lets the user introduce random variability in intonation. This can make a big difference, especially in fast passages where real players almost never achieve accurate intonation from note-to-note. VAR2. - (MIDI controller #23) - This controller lets the user introduce random variability in timbre. The two variability controllers can go a long way toward eliminating the dreaded “machine gun” effect of rapid repeated notes. Proper application of the VAR controls can also help the user create convincing double and triple tongued passages in the brass.

Tip: VAR 1 and VAR 2 are best applied on a “task-specific” basis. Draw the controller data only at the locations where a problem needs to be solved. Often, this means applying the controller data in those areas where rapidly repeated notes have created the dreaded “machine gun” effect. Another excellent place to draw in VAR data is during rapid runs that result in a series of notes that are too perfect in intonation and timbre to be believable. Keep in mind that a musician will listen carefully to longer notes and make quick adjustments to correct intonation but that much faster notes of shorter duration go by too quickly for accurate adjustments to take place. As an example, a musician might play a half note followed by a rapidly ascending run of 32nd notes, ending on a whole note. The first and last notes will be very accurately brought into pitch by the player so no VAR 1 should be applied to those notes. The 32nd notes, on the other hand, should receive VAR 1 for random intonational variations and perhaps VAR 2 for some variation in timbre. One other tip: Make sure that the note timing is not too perfect as can happen when notes are either entered by mouse or in notation. Again, perfection does not sound human so try to avoid it.

Tip: For more advanced programming and customization the user may wish to upgrade to the full version of Kontakt. The full version is capable of reading and editing the programming of the Garritan Jazz & Big Band instruments. This will enable you to create your own custom programming. One caveat though: Each instrument in JABB has a corresponding text file. The Kontakt player in JABB reads these text files to set certain controllers to their default values when instruments are loaded. Unfortunately, the full version of Kontakt does not read these test files so it is necessary for the user to place default controller value data at the beginning of the instrument MIDI tracks. Without the entry of these values instruments will not load and function as intended.

46


The Garritan Community Learn, Share Music & Stay up to date I welcome you to join the Garritan Community. Owning Garritan Jazz & Big Band gives you much more than a product. One of the most valuable benefits is membership into the Garritan community of musicians. The Garritan Forum is where Garritan users from around the world come to discuss everything related to orchestration, jazz and big band and topics related to music and sampling. It's the perfect way to find the latest news and announcements, ask questions and share your music made with Garritan libraries. If you want to browse, share your thoughts, impart knowledge, listen to demos, learn, and interact with other Garritan library users - this is the place! You can also communicate privately with other musicians (PM), respond to polls, participate in real-time chats, read how-to tutorials, and get support and help from others. There is a wealth of information among the tens of thousands of posts in the forum and a convenient 'search' feature to find what you are looking for. The Garritan forum can be accessed at: http://www.garritan.com/forum.html. There is a special subsection dealing with Jazz and Big Band on the Garritan forums. You don't have to register to browse posts, but before you can post, you will have to sign up. Registration is fast, simple and free; so please, join our community today! In addition to the official Garritan Forum, there are other independent Garritan Communities where you can find valuable information and interact with other users. I urge you to contribute and be a part of the Garritan Community where you will find an indispensable resource for musicians.

47


Getting Help The first place to look for a solution to any problem you may be experiencing is this manual. Please read the manual before contacting support. Next, check the readme files which contain important information and all last minute changes that haven’t been available when printing this guide. Also, you may find an answer to your problem using the Kontakt Player’s on-screen help. You can access support by going to the Kontakt Player About screen, opened by clicking on the NI KONTAKT logo on the player. Choose the support tab of the About Screen to find a series of buttons directly leading you to the Native Instruments Online Knowledge Base and to the Online Support front-end. The front-end will ask you for all information about your hardware and software environment, to better assist you. In your description, you should include a description of the problem, the steps you have taken to try to remedy the problem, the specs of your computer, and a description of your software and hardware. Important: For support & authorization for the Native Instruments KONTAKT Player, please contact: [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. The version number of your software is displayed on the first page of the About dialog. Updates are released regularly to fix known problems and to improve the software. You can find a link to check for the latest update in the About dialog, in the Readme file or at www.native-instruments.com. Information and help are also available at the Garritan website. If you can’t find a solution to your problem by any of the above methods, please email us at [email protected]. The best way to get the help you need is by giving us plenty of detailed information about the problem you are having. We do ask you to read this guide thoroughly and exhaust the other avenues of support before contacting us. Regarding Third Party Customer Service: Please do not call Garritan Libraries for technical support regarding the Kontakt Player or any other third-party application or program. All Kontakt support issues are handled primarily by Native Instruments. Please contact the respective companies for support.

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

48


Acknowledgements Producing Garritan Jazz & Big Band would not have been possible without the combined help, talent and support of many extraordinary people. I am grateful to those who have contributed and would like to thank them all. This Jazz and Big Band library has been the vision of Tom Hopkins. Tom has played in jazz bands for over 35 years and this library has been one of his personal goals. Tom played brass for this library, recorded many of the instrumentalists, and programmed all of the instruments. Tom has transformed these samples into playable expressive instruments. I am extremely grateful for the musicians who have played for this collection. Thanks for enduring the relentless scales, sore fingers, numb lips and meticulous playing to produce these samples. Thanks the players: Chuck Israels (upright bass), Rich Cooper (trumpet), Jim Coile (saxophones and flutes), David Link (saxophones), Jay Easton (saxophones), Tracy Knoop (clarinet), Curt Berg (trombone), John Leys (bass trombone), Tom Hopkins (trumpet, flugelhorn, trombone), Ted Enderle (upright and electric basses), Denny Gore (electric piano), Alan Hashimoto (drums), Tom Bergersen (percussion), Karl Olson (vibes), Bruce Hamilton (additional percussion), Karl Garrett (acoustic guitar), Ged Brockie (electric guitar), John Bonica (accordion) and the other musicians who played in this collection. Thanks to Jeanott Welter for endless hours of tedious sample editing and looping. Thanks to Jim Bredouw for the use of his Steinway B piano for sampling. Many thanks to Chuck Isreals for his inspiration and consulting throughout the project. And special thanks to Gary Lindsay for his insightful advice. Thanks to Mark Simon and David Burnett, for hosting the Garritan Forums on Northern Sounds to exchange ideas and support one another. I would also like to thank Stephen Croes, Dean of Music Technology, and Kurt Biederwolf, Chair of the Music Synthesis Department at Berklee College of Music, and Gary Lindsay, Director of Studio/Jazz Writing at the University of Miami who were very helpful in discussing many of the problems facing music students which led to the development of this library as a creative solution for students. Thanks to Michael Sandberg and James Mireau for graphic design and James Mireau for the cover art. Thanks to Jeff Hurchalla, David Viens, Sebastien Beaulieu, and Vincent Trussart at Plogue for the development of Garritan Studio. And thanks to Darcy Argue, Jeff Beal and David Maddux. A special thanks to Daniel Haver, Martin Jann, Frank Etling, Julian Ringel and everyone at Native Instruments for developing the fantastic sample engine that powers Garritan Jazz & Big Band.

49

Appendix A: Quick MIDI Controller Reference Guide CC # 1

Description Modulation

Use Controls the volume/timbre of “Expressive” instruments

7

MIDI Volume

10

MIDI Pan

12

Air flow noise

13

Key click/valve noise

15

Note release effects

16 17

Plunger mute control Vibrato Speed Control

19

Pitchbend disable

20

Portamento

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. 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. Turned off by default. Can be used to add breathiness to the sound of an instrument. Turned off by default. Can be used to add mechanical noises synchronized to note changes. Turned off by default. Uses value splits to switch between falloffs, doits, and kisses. At “closed” setting by default. Used along with Aftertouch (vibrato intensity) to control the application of vibrato. 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. Adds portamento to notes depending on interval and controller data added.

Attack Speed Shown: ATTACK (vibraphone only) 21

Length

22

Tone control Variability 1 (VAR 1)

23

Frequency Filtering Shown: FILTLV (organ) Tremolo Level Shown: TRMLEV (vibraphone) Variability 2 (VAR 2)

Continuously adjustable attack speed controller. Adjustable from hard to ‘bowed’ attacks. Defaults to hard attacks. Controls the length/decay/release time of the sample. Controls brightness on the vibraphone. Sets random variations in tuning from note to note.

Instruments Affected All “Expressive” sustained instruments. Does not affect most percussive instruments. All if chosen.

All if chosen.

Air flow noise is included with all woodwind and brass instruments. Key click noises are present in the woodwinds and valve noises are present in the trumpets and tuba. All trumpets. One trumpet and one trombone. Woodwinds, brass, bass, and guitar. All instruments “expressive” instruments that sustain.

All “Expressive” sustained instruments. Used during legato/slurred passages which require portamento. Adjustable attack speed controller on the vibraphone KS patch. Controls the length/release time of most instruments in JABB. Hard and soft mallet vibraphones On most wind, and some percussion instruments, this is used to introduce note-to-note variations in intonation. Used during repeated note passages to help prevent the ‘machinegun’ effect.

Controls filter strength.. Continuously variable tremolo control. Sets random variations in instrument timbre from note to note.

50

Controls the tremolo level in vibraphone and vintage keys. To be used with cc23. On most wind, and some percussion instruments, this is used for timbre variations. Again, useful for repeated note passages to prevent the ‘machinegun’ effect.

GARRITAN JAZZ & BIG BAND USERS GUIDE

26 27 28

64

Filter Center Frequency Shown: FILTFQ Filtering (organ) Tremolo Speed Shown: TRMSPD (vibraphone) Tone Control Tone Control center frequency High Frequency Control Attack control Tongue/slur (standard folders) Damping (percussion)

68 Aftertouch

Tongue/Slur (Notation folder) Vibrato Intensity Control Brush stir direction change

Velocity

Velocity

Pitchbend

Pitchbend

Also used to control the center frequency for filtering. Continuously variable tremolo speed control. Intensity of EQ Chooses the part of the audio spectrum modified by the Tone Control Intensity of high frequencies

Controls the tremolo speed in vibraphone and vintage keys. To be used with cc22. Many wind instruments Many wind instruments Many wind instruments

Special attack control for the brass shake layer Controls legato on brass, winds, and damping on some percussion instruments. Also can be set to control standard sustain on piano.

Trumpets and trombone

Controls vibrato intensity for woodwind and brass instruments.

All wind instruments

Controls the direction change in brush pattern. Defines the rhythmic character of the stir. Controls “note on” velocity for all instruments in JABB.

Brush snare drums.

Allows a note’s pitch to be shifted in a controlled manner (usually to a maximum of two semitones up or down).

51

When set to “No Sustain/Sostenuto, but MIDI Controller” will activate tongue/slur mode on all wind instruments. When mode is set to “Normal Sustain/Sostenuto” it functions with standard sustain pedal behavior on the piano. All wind instruments

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. This controller is useful for instruments like trombone where note slides are common. This 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 difficult portamento situations.

52

Note Name A# B C C#

D D# E F F# G G# A A# B C C# D D# E F F# G

38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55

Snare 1 Hand Clap Snare 2 Low Floor Tom Closed Hi Hat High Floor Tom Pedal Hi Hat Low Tom Open Hi Hat Low-mid Tom High-mid Tom Crash Cymbal 1 High Tom Ride Cymbal 1 Chinese Cymbal Ride Bell Tambourine Splash Cymbal

Bass Drum 1 Bass Drum 2 Side Stick

General MIDI Drum Kits

Appendix B: Drum Maps

MIDI note # 34 35 36 37 Snare LH Snare RH Foot Closed Hi Hat Low Floor Tom Closed Hi Hat LH Closed Hi Hat RH Half Open Hi Hat Mid Tom Open Hi Hat Hi Hat Crash High Tom Crash Cymbal 1 Ride Cymbal 1 Ride Cymbal 2 Crash Cymbal 2 Ride Bell 1 Ride Bell 2 Ride Cymbal 3

Side Stick Bass Drum 1 Bass Drum 2 Rim Shot

Classic Jazz/Fusion Drum Kits

High Tom Crash Cymbal Ride Cymbal 1 Ride Cymbal 2 Sizzle Cymbal Garbage Can Lid (wire brush) Garbage Can Lid (brush handle) Garbage Can Lid (blastik)

Bass Drum 1 Bass Drum 2 Snare Stir (Aftertouch direction change) Snare LH Snare RH Foot Closed Hi Hat Low Tom Closed Hi Hat LH Closed Hi Hat RH Half Open Hi Hat Mid Tom Open Hi Hat

Brush Drum Kit

53

56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77

G# A A# B C C# D D# E F F# G G# A A# B C C# D D# E F

Cowbell Crash Cymbal 2 Vibraslap Ride Cymbal 2 High Bongo Low Bongo Mute High Bongo Open High Bongo Low Conga High Timbale Low Timbale High Agogo Low Agogo Cabassa Maracas Short Whistle Long Whistle Short Guiro Long Guiro Claves High Wood Block Low Wood Block

Crash Cymbal 3 Sizzle Cymbal 1 Stagg Crash Cymbal 4 Cracked Ride Cymbal 3 China Cymbal Splash Cymbal Ride Cymbal 4 Crash Cymbal 5 Sizzle Cymbal 2 (wood tip) Sizzle Cymbal 2 (nylon tip) Sizzle Cymbal 2 (mallet) Sizzle Cymbal 2 (finger) Sizzle Cymbal 2 (wood tip BS) Cymbal Scrape 1 Cymbal Scrape 2 Cymbal Scrape 3 Cymbal Scrape 4 Cymbal Scrape 5 Garbage Can Lid (stick) Garbage Can Lid (mallet) Garbage Can Lid (hard mallet) Garbage Can Lid (rubber mallet)

54

78 79 80 81

Mute Cuica Open Cuica Mute Triangle Open Triangle

Garbage Can Lid (car keys) Garbage Can Lid (hand) Radial Saw Blade Chrome Saw Blade

MIDI note # 36 37 38 39 40 41 42 43 44 45 46 47 48 49

Note Name C C# D D# E F F# G G# A A# B C C#

Gourds, Blocks, Bells, Misc. Cabassa Short Cabassa Long Cabassa Snap Guira Short 1 Guira Short 2 Guira Long Guiro 1 Short 1 Guiro 1 Short 2 Guiro 1 Long Guiro 2 Short 1 Guiro 2 Short 2 Guiro 2 Long Maraccas 1 Short Maraccas 1 Long

Drums

Bata Low Open Bata Low Muff Bata Low Slap Bata Mid Open Bata Mid Muff Bata Mid Slap Bata High Open Bata High Muff Bata High Slap Bongo Low Open Bongo Low Muff Bongo Low Slap Bongo High Open Bongo High Muff

Appendix C: Percussion Maps

F# G G# A

55

50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73

D D# E F F# G G# A A# B C C# D D# E F F# G G# A A# B C C#

Bongo High Slap Cajone Low Cajone Slap Cajone Stick Hit Conga Low Conga Open Conga Muff Conga Slap Cuica Low Cuica Mid Cuica High Djembe Open Djembe Muff Djembe Slap Pandero Open Pandero Muff Pandero Slap Quinto Open Quinto Muff Quinto Slap Super Tumba Low Super Tumba Open Super Tumba Muff Super Tumba Slap

Maraccas 2 Short Maraccas 2 Long Shaker Short 1 Shaker Short 2 Shaker Short 3 Shaker Medium Shaker Long Shekere Low Shekere High Shekere Short 1 Shekere Short 2 Clave Jam Block Low Jam Block High Wood Block Agogo Bell Low Open Agogo Bell Low Mute Agogo Bell High Open Agogo Bell High Mute Bongo Bell Low Open Bongo Bell Low Mute Bongo Bell High Open Bongo Bell High Mute Cha Cha Bell Open

56

74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96

D D# E F F# G G# A A# B C C# D D# E F F# G G# A A# B C

Surdu Open Surdu Muff The Box Low The Box Mid The Box High Timbales Low Timbales High Timbales Edge Tumba Low Tumba Open Tumba Muff Tumba Slap Udu Long Udu Short

Cha Cha Bell Mute Timbale Bell Open Timbale Bell Mute Castinets Hand Claps Finger Snaps Jawbone Rainstick 1 Rainstick 2 Tambourine Short Tambourine Long Tambourine Hit Triangle 1 Open Triangle 1 Mute Triangle 2 Open Triangle 2 Mute Whistle 1 Short Whistle 1 Long Whistle 2 Short Whistle 2 Long Whistle 3 Short Whistle 3 Medium Whistle 3 Long

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