CHAMBER ORCHESTRA II

Transcription

1 VERSILIAN STUDIOS presents CHAMBER ORCHESTRA II VERSION 2.0 Intermediate Sample Library A complete and augmented chamber orchestra for virtual orchestration and mock-ups of all sizes Production Undertaken By - M ssrs. S.A. GOSSNER & S. HEBERT, Design and Recording Arts M ssr. E. HICKLER & CO, Manipulation and Refinement M ssr. S. AUTENRIETH, Transliteration to KONTAKT M ssr. T.L. KUNSTMANN, Additional Scriptery M ssr. S. DALZELL of IVY AUDIO, Additional Recording Arts Published by VERSILIAN STUDIOS LLC Durham, Connecticut $5.00

2 Dear Customer The contents of this manual are hereby provided in order to assist in familiarizing a new user of this software to its operation. In all cases, it is greatly recommended to review this text prior to and following installation in order to experience the most trouble-free operation of this product. For any issues, please drop us a line via our support system, found thusly: ii

3 INTRODUCTION and FORWARD By Mon ssr. S.A. GOSSNER, Founder In the course of two years since the previous publication of the Versilian Studios Chamber Orchestra, we have been hard at work {or, to the humorists among you, hardly at work} on this great expansion and redoubling of our efforts. Where a project measuring a mere One-Hundred-Fifty Mega-bytes once stood, now an effort more than ONE-HUNDRED times that effort now stands. The effort, mastery of performance, and endurance of the musicians, scripters, mappers, recordists, and designers {much of whom being admittedly yours truly} stands in the course of time as a great effort of a few good men and women joined in a common cause. This is a project that could not have been completed alone! We have recorded in halls, classrooms, and closets of all shapes and sizes with dozens of talented professional and student musicians, each bringing their own styles, sounds, and personalities to this project. VSCO 2 features organ and upright piano recordings taken and processed by the talented M r. SIMON DANZELL of IVY AUDIO, numerous performances by the versatile M r. SAMUEL HEBERT and M r. J. BELANGER, without whom the entire percussion section of the library would not exist in the state it does now, and with the support of the countless musicians whose names and deeds shall grace a later page in this manual. VSCO 2 is a labor of love, full of personality and intimacy. It is our greatest honor to share it with you, our esteemed customer. We hope you find the inspiration and joy in this library that we found in creating it. SAMUEL A. GOSSNER, Founder DURHAM, Connecticut. MMXVI iii

4 Fig. 1: D#, Round-Robin N r. 2, Dynamic: Mezzo-Piano, mister Dalzell! iv

5 LIST of ILLUSTRATIONS; & their relative page numbers Sampling the PIANO iv Mapping the FLUTE Orchestral Seating Chart Flowchart for Tea Darwinian Nature of Computers Overpriced Computing Devices Darwinian Nature of Concepts Yet Another Illustration New User Interface Design Poor Scrapped UI Design Feedback from Testers Modular Design Health Risks v

6 vi MANUAL OF OPERATION VSCO II

7 A COMPLETE AND WELL-JUSTIFIED TABLE OF CONTENTS REGARDING THE REMAINDER OF THIS MANUAL CROSS-REFERENCED and HYPER-LINKED is as follows: INTRODUCTION and FORWARD... iii LIST of ILLUSTRATIONS... v TABLE OF CONTENTS... vii PRODUCT INFORMATION... 1 INTRODUCTION to SAMPLING... 1 THE INSTRUMENTS of VSCO... 3 Woodwinds... 3 Brasswinds... 4 Percussion... 4 Strings and Keyboards... 5 Panning & Positioning... 5 INSTALLATION of VSCO... 8 System Requirements... 8 Installing on a Windows Machine... 9 Installing on a Macintosh Machine Un-Installing OPERATION of VSCO Operational Logistics General Practices User Interface vii

8 Bonus Features Possible Health Risks Nutritional Information POST-SCRIPT of THIS MANUAL Special Thanks//Commentary viii

9 Part the First PRODUCT INFORMATION A Synopsis of the Contents of This Product and Its Installation INTRODUCTION to SAMPLING VSCO 2 is a virtual instrument comprised of thousands of individual samples, or small audio clips of instruments. Virtual instruments take all those samples and compile them in a cohesive environment useable by a composer to create virtual renditions of songs-to-be. In this brief section, we shall explore the true nature of sample libraries to gain a greater understanding of the functionality of this product. The basis of a great mock-up {not to be confused with a great knock-up or a great mockery } lies in the quality and talented implementation of virtual instruments. Even when equipped with the same instruments, two composers can have radically different results in realism and quality depending on the idiomatic, or optimal, usage of the instruments. For example, one composer might choose to use some slow string patches to create a fast pattern, or Ostinato. This technique is frowned upon, as the result will typically be less-than-acceptable, even with the finest of samples. One could spend a day expounding upon all the things not to do with samples, but instead, let us discuss what one SHOULD do with samples {at a later point in this manual}. All samples, at least in the confines of this project, come from real acoustic sources, recorded with specially-selected arrays of microphones designed to produce the most natural, realistic sound possible. Often times, multiple arrays of microphones are used at varying positions. These are referred to as Microphone Positions, a topic we shall discuss later in this manual. 1

10 During the recording process, a musician is asked to perform many notes on their instrument at varying degrees of loudness and pitch, and through various techniques, or articulations. For those who currently cannot help but verily shout at the screen or page before them, Do you need to record EVERY single note?, may I at this time now answer in brief no, it is not required to sample every single note. Thanks to resampling, it is possible to re-tune certain notes to fill the spots of un-sampled pitches. This is the foundation of VSCO s surprisingly small size in the world of modern sampling. In the striking graphic below, we can observe the way the original samples are mapped to your keyboard in order to allow the performance of notes un-sampled. Fig. 2: Mapping the Diatonically-Sampled Flute 2

11 THE INSTRUMENTS of VSCO With over 30 unique instruments {not including the smallest and most inconsequential of percussions} found in each and every modern orchestra, it is no easy task to sample an orchestra! Let us meet the instruments you will find in this library All kinds of instruments must be sampled for such an ENDEAVOR! It is no easy task with so many varieties in use in the modern orchestra BRASS-WINDS, WOOD-WINDS, PERCUSSIONS, STRINGS and KEYBOARDS Each kind has its own attitude and articulations that must be accounted for and planned out. Dozens of players must be recruited and instructed in the unique nature of the sampling session. All of this must be accomplished before a single patch may be created. Luckily we have already completed this step, and you may now reap the rewards of this. Since you sit there, uncontrollably gnawing away at the poly-laminate coated fibre-board construct upon which lies these feeble yet mesmerizing words {or not} eagerly mouthing but one question- what are those rewards which I may now reap?, I shall take it upon myself the onus of sharing that information with you. Welcome, my melodramatic friend, to the Orchestra. Woodwinds Woodwinds are the first instruments on our tour, as they are the first in the concert score and would otherwise threaten to surround us and play the piccolo solo from Stars and Stripes Forever if we were not to do so. The woodwind family in its most common incarnation consists of, in reverse order of pitch, piccolo-flute, {soprano} flute, oboe, cor anglais { English horn}, clarinet in B-flat, bass clarinet in B-flat, bassoon, and contra-bassoon {which due to the Geneva Convention, we are unable to sample at this time, but have made it up to you by sampling a 32-foot contra-posaune organ patch}. 3

12 Woodwinds are valued for their sweet, nyph-esque candor, and blendability {or sweep-under-therugability} with any other family in the orchestra and are routinely forgotten about outside of textures and the occasional oboe solo. Brasswinds Brasswinds, or, more commonly put, brass, are the true lions of the orchestra capable of the most heroic of FANFARES and the sweetest of chorales. Most modern orchestras are extremely limited in the variety of brass, only featuring a broken consort of {soprano} trumpet in C {or B-flat}, double-horn in F/B-flat, tenor trombone in B-flat, bass trombone in B-flat, and tuba in CC or BB-flat. We have taken the liberty of augmenting the orchestral brass section with some antique and uncommon instruments, such as the lyrical {alto} cornet in B-flat, the bright tenor cor {mellophone} in F, alto trumpet in E-flat, alto saxhorn in E-flat, euphoniums in B-flat, and the generally misunderstood and maligned ophicleide in C. These instruments represent a broader and more realistic semblance of the brasswind family tree, and the wave of excitement over this unequivocal organological marvel shall pass in a few hours. Percussion As the great John Philip Sousa ( ??) once said, Boom, baby, BOOM! Percussion instruments are the beating heart (and tapping tactus) of the orchestra, keeping all the illiterate string players and multissimo-rubato flautists in some human sense of time. After all, what is a body without its heart? From the rat-a-tat-tat of the side {or colloquially, snare} drum, to the bddddddddddddddddddddddruuuummm of the rolling timpano at the height of the latest of Beethoven s decompositions {such as the much-beloved Symphony 862 in E-sharp}, the role of percussion is undeniable. For the experimental composer in you, we have provided an assortment of small percussion instruments, including no less than EIGHT unique triangles, fit for every occasion, and an assortment of vibraslaps, guiroes, shakers, and more. This is accompanied by a collection of mallet percussion the docile marimba, the whirring and novel vibra-phone, the annoyingly piercing glockenspiel, and two virtuous xylo-phones to finish out the alphabet. 4

13 Strings and Keyboards The largest number of instruments in any orchestra are the strings. Several strains of these bland bowed maladies infect the forward-most portion of the orchestra, generally getting in the way of the real musicians and screwing up the bowings on every run they are given {yet, we continually forgive them and give them all the longest parts, but I digress}. In VSCO 2, you will find some uniquely small string sections; 5 violins, 3 violas, 3 violon-cellos, and two solo contrabasses, as well as a set of solo violin, viola, and violon-cello instruments. This intimacy provides the sweetest sustains possibly ever sampled {that is, as sweet as these nasally creatures can manage}. Recorded up close and personal, these strings excel both on their own and blended with larger sections. In addition to these bowed strings, there are a variety of plucked and hammered string and keyboard instruments. An intimate pedal-harfe, a warm grand piano-forte, an upright piano-forte {a popular feature in many homes and apartments}, and two custom replica late-renaissance harpsichords with bird-quill plectrums fill the world with a sonorous and delightful racket. Of course, this is withstanding the true star of the show, a towering, regal organ of true English persuasion, sampled at both full TEMPEST and gentlest pastorale {not the mention the previously mentioned 32 contra-posaune pedal notes, ideal for any work of the dub-step persuasion}. Panning Positioning The knowledge of all of these instrument families is yet, not sufficient for the purposes of creating quality virtual performances. We must understand the fundamentals of where these instruments are placed in the soundstage for the most realistic appeal. Study closely Fig. 3 below. Fig. 3 The Orchestra as It Sits 5

14 It is evident from the figure on the previous page that further study of the phenomenon of panning and stereo placement is required in order to fully comprehend the acoustics behind properly panning instruments in an orchestra. Please refer to Fig. 4 below. Fig. 4: Flowchart 6

15 I would like to apologize for the author of the previous flowchart. He has now been sacked and a new flowchartist has been hired for the duration of this manual {which contains no other flowcharts}. Rest assured, there will be no more renegade flowcharts regarding the heathen methods of brewing tea. At this time, please turn to the next page of the test booklet. Do not return to any other section of the test. We are watching. 7

16 INSTALLATION of VSCO Installing VSCO 2 is a painless and easy operation for WINDOWS users, thanks to the new Versilian Studios Installer. Unfortunately Mac users will be continually be left in the dark ages of installation methods until we decide otherwise. System Requirements VSCO 2 is not your grandmother s virtual instrument! At the same time, we are also not conspiring to fuel an increase in solid-state drive purchases in a global conspiracy to gain market dominance {because that would just be silly}. You will need a system of at least the following properties to experience an acceptable experience 3 GB of RAM A processor made within or {preferably} after the presidency of M ssr. G.W. BUSH. At least 20 GB of HDD space {for FULL version; 8 GB for standard and 2 GB for free} A Hard-Drive of 5400 R.P.M. minimum The following are RECOMMENDED hardware properties for a superior experience 8 GB of RAM A processor made within the presidency of M ssr. B.H. OBAMA. A MIDI Controller keyboard {optimally 61+ key for best use of keyswitches and full ranges} At least 20 GB of HDD space { see above } A Hard-Drive of 7200 R.P.M. or a Solid State Drive {SSD} These settings are overkill and you should destroy the time machine while you have the chance 512 GB of RAM A processor made after the presidency of M ssr. D. QUAYLE. A MIDI Controller of 100+ keys {excluding you multi-bed organ chaps, you re just swell} 3+ PCIe SSDs with a capacity of 5 TB or higher 8

17 Installing on a Windows Machine Installation on a Windows machine is easy and straightforward. The first and most obvious step is actually downloading the installer. I will assume that you have already done this, although it may help to know that some browsers don t like the installer and will try to stop you. They must be firmly reminded of their inferiority to human intellect, as shown in Fig. 5. Fig. 5: Reminding your machine who is boss Next it is time to actually run the installer. After skipping through various screens and ignoring the incredibly humorous T.O.S., be sure to browse for the CORRECT locations to install the Kontakt and VSTi instruments. After all, your computer is vastly inferior to humans and thus has no freaking clue where your DAW(s) look(s) to for VSTi unless you remind it. Proceed to skip through screens at will until the end, at which point you will be given the chance to read the ACTUAL product manual. You should, of course, ignore that manual and continue following this one, as that manual is quite boring and unfortunately very informative. To use VSCO in VSTi form, open your favorite VSTi 2.0-complaint DAW and allow it to scan for new VSTs. Now find VSCO 2 and load it up. You may now enjoy VSCO 2. If you wish to use the Kontakt form, navigate to where you installed the Kontakt build in your finder. You may desire to move the entire Kontakt build folder if you did not follow the instructions earlier. If you forgot where you installed it, then you may reinstall the plugin as many times as you wish, or until your hard-drive runs out of space, perhaps becoming stuck in an infinite loop of space and time, languishing in your own despair over being unable to get out of your own despair to the point that your body begins to shut down and the last sight of your flashing computer screen fades before your eyes. Simply drag a.nki file from the instruments folder into an open instance of Kontakt (NOT the player). Bon Appetite! 9

18 Installing on a Macintosh Machine Unlike your enlightened Windows-using cousins, you will need to manually complete the installation process. No worries, 9 out of 10 rocket scientists classified this task as mildly degrading. Be sure to remind your computer of your mental agility at each step by twiddling your thumbs a hundred times before proceeding. Please refer to the schematic below for proper installation. Be sure to familiarize yourself with all the terms below for the quiz at the end of the chapter Fig. 6: If I have to explain this in an one more time, I am going to literally explode. But lo! You now ask me about such things as.nki files, how splendid! Because I am too lazy to type that section out again, go to page 9, paragraph 5 { If you wish to use the Kontakt form } and read from there. 10

19 Un-Installing You may come upon a time in your life when the life s work of the individuals listed above is not important in the longevity of your career {hrumph}. Please compile the set of tools recommended below for the patented Patton Method - total success guaranteed! Large Axe preferably double-bit Field-Gun at least a demi-cannon; howitzers are acceptable, but more time-consuming Lame Excuses to sprinkle lightly while uninstalling 1 lb. of high explosive (optional) for least risk of self-repair module activation Surplus B-29 Bomber or Predator Drone Panning shots of Tunisia overlaid with dramatic echo-y trumpet music (optional) $200,000 USD towards the purchase of a new computer and home For the less effective and considerably slower method, you can always just delete the files and installer. We leave no crumbs on your desktop {even St. Nicolas can t top that} or in your registry! 11

20 OPERATION of VSCO Operating VSCO II is as easy as it sounds! In the following section, we shall explore the features and tricks of operating such an expressive and powerful sample library. Operational Logistics The first step to SUCCESSFUL operation is the correct usage of logistics to control and manage the various instruments under your control. Before beginning, take a chance to explore the instruments found in this expansive collection. DRINK IN the possibilities of orchestral SPLENDOUR! TASTE the blending of colors and tones in CONCERT! DO lots of things and stuff AS WELL! THIS will help you master the art and science of operating the plugin ABOVE ALL ELSE. The following graphic, hastily scribbled on a post-it note by the author of this text, displays how we will approach this subject Fig. 7: The science of the idea of the logistics of operating this plugin. 12

21 Nonetheless, we shall endeavor most BRAZENLY to educate you in such matters, in the hopes that one day, you might embrace this wonder of technology and marvel of progress in your work, just as a bumbling youth embraces the beauty of a painting by signor Picasso or a canzon by the renowned composer M. Maschera {whose contributions in the fashion industry live on to this day}. ONWARD! General Practices It requires NO EXPERT to admit that all great compositions begin with intent, followed by a great deal of talent, and a name including epic, symphony, adventure, legend, or heroic. However, the true hidden hero of the story is a period of stretching and deep mediation that will help you adjust into the world of operating a virtual orchestra. As you will be working with a virtual orchestra, the primary goal is to be able to speak MIDI fluently. Practice reciting your parameter changes and note on/off signals daily until they become second nature. For best results, convert the signals to binary. Individuals from such countries as the Holy Roman Empire, Johndoeistan, and Gondor may find this difficult due to the accent. Focus primarily on diction and the rest will come swiftly! Remember, faster speech means lower latency. Before each composing session, turn off all lights and begin stretching and jumping to release extra energy. Be sure you remove any sharp objects from the area, or else risk suffering an injury {work related injuries may be tax-deductible, depending on your sovereignty}. Put yourself into the mood of the work you will be portraying. Help, I am trapped in a manual-writing factory, call the A- team! For psycho-dramatic works, act insane around loved ones so they distance themselves from you. For heroic works, participate in any local LARP tournaments and Renaissance faires. BECOME the work you seek to depict! This may have problems with scoring to adult content or tragedies, but is typically a good rule of thumb. Next, you must decide if you want to blatantly steal from another composer or attempt to create something original. If you choose the latter, be aware that you may subconsciously blatantly steal from another composer, a sort of meta-misconception, so risk is involved. Locate a popular composer whose works fit the style you want {possibly a figure with a similar name to eminent 19 th century vuvuzelist and proto-organologist Zans Himmer}, and find any figure or motif that is possibly slightly related to the theme at hand {particularly low growling ones and the famed chugga-chugga-cellos }. The closer you can get to this composer s style, the greater you will be paid! 13

22 Some additional practices that may come in handy are as follows: Exorcising ghosts from hard-drive to increase DFD rate. Increasing HD space by deleting operating system. Downloading additional RAM for your computer (beware RAM pirates!) Compressing & copying all samples onto floppy-disks for that classic digital warmth. Operating at bit depth of 8 for that vintage 8-bit sound. Buying physical instruments instead, for true analog sound quality. While these steps alone are a step in the right direction, the task of becoming a true composer is long and filled with dangers and difficulties galore; something this humble manuscript does not have space to explore in further detail. Suffice it to say, you have your work cut out for you, and your samples even more cut out for you! Fig. 8: You try writing a 28-page April Fool s Day joke manual in one sitting! 14

23 User Interface Due to unfortunate legal incidents and a restraining order filed against me by my own computer, I am not permitted to share the actual user interface, so here is an early sketch from our initial planning stages. We spent at least 7 minutes listening to all of the fantastic feedback and ideas we received from customers over the years regarding VSCO I, and we are thrilled to present what we think is the FUTURE of virtual instruments: Fig. 9: Draft of new UI and marketing plan for release. 15

24 This is, of course, an improvement over another early idea: Fig. 10: Too ugly and complicated for anyone to ever use! Eughh!! the testers The controls are fairly straight forward- turn knobs to make things happen. Some knobs make big things happen, while others make smaller things happen. We even made it so you can move slider things as well, a feature that many customers did not request. Perhaps the biggest change in the user interface versus VSCO I, is that it looks like you can use it as an interface to control things, rather than a first-year Photoshop student s homework. In figure 11 below, we ve included some findings from real tester experiences to help you understand the new changes in VSCO II. Fig. 11: Feedback from testers 16

25 Bonus Features Although listening to our customers is an exhausting and often challenging activity, you have all spoken very loudly and we are responding equally loudly: BONUS FEATURES EXIST. Let us explore some now. Chord Progression Generator- Useful for tonal composers who need a quick progression to work with. Simply input a series of functional relationships in figured bass ( Roman Numeral Notation, or RNN) and the generator will pick chords for you, using samples of the DNA of Richard Wagner and Gustav The Hammer Mahler. Vintage Keys- To match our philosophy that it doesn t take fantastic musicians to make fantastic instruments, we ve included a set of vintage keys from a not even close to uncommon borderline-consumer-grade keyboard from 1986, sampled chromatically and at 12 velocity layers (note: piano does not actually possess velocity layers, we just thought that would be funny). Comprises about 3 GB of total sample size. DRM- In order to protect your investment, we ve invested heavily in DRM. Our new DRM system uses enhanced identification features and fingerprint ID technology to verify that you are who you are by use of a special Dead Man s Switch, available from our store for a low price of $ Removing your finger from the DMS will result in the DRM closing your DAW and randomly deleting one item from your HDD every 7.2 seconds until you receive a re-activation code from us via UPS. Monthly Subscription- It s the new big thing, and everyone is doing it! You can pay us money every month for absolutely no new features or special benefits aside from normal updates. It s a win-win for everyone! New Modular Design- Unlike old-fashioned sample libraries which come pre-assembled, we ve taken a note from popular companies such as IKEA and the success of Spitfire s BML, to make the world s first TOTALLY modular library! In your download, you will receive all 23,000 necessary audio files to create your very own sample library and a set of intuitive instructions to help you realize your future in virtual instrument design! 17

26 Possible Health Risks Fig. 12: Example of modular design instructions Fig. 13: Your life could become this Some users have experienced moments of lucid dreaming in which they imagine themselves in a hip scene as a dee-jay figure, randomly pointing at particular instruments that may or may not be part of this library. If you experience this, stop usage immediately and seek immediate medical attention. 18

27 Nutritional Information Although consumption of this product orally is not recommended, some individuals may find the activity tempting, so we have prepared the following nutritional guidelines to ensure your diet remains at a healthy and safe level. 19

28 POST-SCRIPT of THIS MANUAL We hope you have learned a great deal from this manual and will enjoy our product for years to come. And yes, happy April Fools. Special Thanks//Commentary If you have made it to this point in the manual, you are either an end-skipper or incredibly bored {don t you have some project to be working on or something?}, so either way, I guess, congratulations. This fake manual was a little time-waster of mine during the small bits of down-time over the past few months as work has continued on the project. I wanted to create the biggest train-wreck of a manual I possibly could that was still at least mildly entertaining. Hopefully I succeeded If you are curious, yes, there is a very real VSCO 2 on its way, with a real manual to boot! If you are interested in learning more, consider joining our mailing list for semi-irregular updates. More information can be found at Best, -Sam Gossner, Versilian Studios 20