Fable Sounds Broadway Big Band 1.0.1

Broadway Big Band Kontakt Edition
Manual v1.01
Chapter 1: Introduction
Thank you for purchasing Broadway Big Band Kontakt Edition!

Congratulations. We are confident that Broadway Big Band Kontakt Edition will change the way you look at
contemporary midi orchestrations, and that it will change your workflow forever. The Broadway Big Band Kontakt
Edition package, like its predecessor (Broadway Big Band) includes nearly 100GBs of multi-sampled audio content and a
package of its accompanying software programs. In order to achieve the desired level of realism with the various
sampled instruments, without sacrificing the efficient and intuitive workflow, we have come up with some new concepts
that we believe you will find both helpful and easy to use and understand. This Manual will introduce these concepts to
you and will guide you through the technical steps of installing and using Broadway Big Band and Broadway Performer,
and will offer various tips about how to get the most out of this powerful and inspiring virtual instrument package, and
will hopefully provide you with a quick and easy learning curve.
If you are cross grading from Broadway Big band, or are familiar with the HALion powered version of Broadway Big Band,
you will find that Broadway Big Band Kontakt Edition substantially simplifies your workflow and makes it faster and
easier. You should still read through the manual, as many new features have been added, and the entire software side of
it has been completely revamped and improved.
There is also much improved documentation of the various key switches and articulations.
AND HERE IS AN IMPORTANT NOTE:

Most of you are very experienced users of midi sequencers samplers and virtual instruments and tend to "learn as you
go" and not follow manuals. We urge you:
PLEASE READ AND FOLLOW THIS MANUAL!
There are a few very unusual elements in Broadway Big Band that affect setup and workflow. If you don't follow this
manual you are very likely to run into problems! Take the time, read and follow. It will be worth it and will save you time in
the long run.
From all of us at Fable Sounds, Good luck and congratulations!
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Chapter 2: Installation and registration
1) Registration
First, you need to register your product.
Go to: www.fablesounds.com/register
Click the "New user registration" link and follow the on-screen instructions.
Click the Register product" link and follow the on-screen instructions.
You will be asked to enter the serial number that's printed at the bottom right corner of the quick-start
guide page, included in the product box.
At the end of the process, the system will send you the activation serial number that you will use in step 5.
*** If you are registering a cross-grade product you must register your previous (HALion) version first. ***
2) Installation:
Put the software installation CD in your CD/DVD drive and run the installer.
When prompted to select a folder for the library, you should select a folder on a large enough hard-drive to
accommodate the 100GB of the audio content of Broadway Big Band, and fast enough to stream audio from.
3) Copying the audio content to your hard-drive:

After running the installer, you need to copy the contents of all the 14 DVDs, all into the "SAMPLES" folder that
resides inside the "Broadway Big Band Kontakt Edition" library folder.
4) Add library:
After all files have been copied to the "Samples" folder, open KONTAKT 4 or KONTAKT 4 Player, go to the "Library"
tab, and click the "Add library" button. You will be prompted to browse for the library folder. You should select
the "Broadway Big Band Kontakt Edition" library folder.
5) Activation:
In the Libraries tab you will see Broadway Big Band listed with an Activate button right by it. Click the
Activate button. This will launch the Native Instruments Service Center. You will be asked to enter the
activation serial number that you received by email from the Fable Sounds registration system. After that, you
will have to restart Kontakt or Kontakt Player before you can open Broadway Big Band instruments without
restrictions.
6) Check the Fable Sounds website for updates. (www.fablesounds.com)
Chapter 3: Loading instruments

If you are familiar with Kontakt powered instruments you can skip this chapter.
1)
Go to the Library tab. Broadway Big Band should be listed.
2)
Click on the gray Browse button on the Broadway Big Band banner.
3)
In the Instruments folder there are 3 folders: Brass, Reeds, and Rhythm Section In each of these folder
you will find sub-folders representing each of the instruments of these sections. Browse to the instrument you
wish to load. Inside the instrument-specific folder, you will find several versions of that instrument. For Legato
instruments, you will find legato versions and polyphonic versions. For all instruments (with the exception of the
drum-kits) you will find several different microphone setups to choose from. (more on that in chapter 8)
4)
To load an instrument, just double-click it, or drag-and-drop it into the instrument interface area.
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Chapter 4 Polyphonic vs. Legato Instruments

Broadway Big Band includes both polyphonic and legato instruments for use in your recording sessions. However each
one has certain advantages and drawbacks which make the use of one or the other more beneficial in certain given
situations.
Legato Instruments:
The advantage of using the legato instruments is in the added realism that is achieved by the real pre-recorded note
transitions. The legato instruments include real pre-recorded note transitions such as legatos and glissandos which make
the performance much more realistic and convincing. However, it only allows you to play one note at a time (just as with
a real wind instrument.)
In order to take advantage of the real prerecorded note transitions (i.e., legato intervals etc.) you should overlap notes.
Play the next note before releasing the current one, and the sample of the interval between the current note and the
note will be played.
If you do continue holding the current note even after releasing the next, the Broadway Performer will play the interval
back to the current note. This technique is very useful if you want to play a trill or a tremolo between two notes.
Polyphonic Instruments:
The polyphonic version of the instruments is more desirable for live performance situations in which realism is secondary
and the impact of playing multiple notes simultaneously (i.e., chords) is desired, or in the sketching stage in which you
may want to be able to play the entire harmony in one pass, instead of playing each voice separately.
Some of the instruments include polyphonic and simulated legato versions only. For those instruments, real prerecorded note-transitions were not recorded. For example, in the case of 2nd Trumpet, 2nd Alto Saxophone, and 2nd
Tenor Saxophone, the instruments are generally there as overlay instruments, mostly to be used in case you need the
section to play in unison. (Even so, they usually do sound good enough to be used as secondary instruments throughout
the arrangement.)
While the polyphonic instruments do not include real prerecorded note transitions, they do work with the virtual keyswitch system in exactly the same way as the legato instruments, and most of them offer a simulated legato mode,
which enables a fairly convincing way of playing melodic legato lines easily.
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Chapter 5: Articulation key-switching in Broadway Big Band

Broadway Big Band offers a very wide variety of articulations for its main instruments, all of which are always readily
available for real-time use via what we call virtual key-switching. This chapter will explain the unique (patent-pending)
key-switching system introduced in Broadway Big Band and Broadway Big Band Kontakt Edition, that employs the
concepts of multidimensional state-machines, temporary articulations, and systematic key-combinations.
If you are cross-grading from Broadway Big Band, you are already at least somewhat familiar with this subject, however,
this chapter has been much simplified compared to the old manual and this new approach to explaining the system might
shed more light on it and may help adding clarity to your understanding of the system.
Traditional key-switches are merely patch selectors, pressed before playing the notes that need to be affected. There
are several problems with that traditional approach when trying to implement it for a virtual instrument such as
Broadway Big Band. The first problem is that following that traditional method, it will take nearly half of the midi
keyboard only to provide for all of the articulations of the main trumpet, which will not leave enough keys for the
playable range, and it will be incredibly difficult to memorize the location for the numerous articulations. The other
problem is that traditional key-switches require you to press a new key switch for each articulation change, even if you
only need to go back and forth from a regular sustain articulation to a staccato articulation for example. That is quite
annoying, and can become completely prohibitive for real-time applications in arrangements that involve rapid
articulation changes. Another disadvantage of traditional key-switching, is that once a note has been played, it can't be
affected by further key-switching, so if for example, you want to play a fall articulation at the end of a sustained note,
traditional key-switching simply doesn't cut it.
So in order to enable intuitive and musical real-time access to all of the articulations of an instrument, to fit all keyswitches in an ergonomic manner (no more than an octave and a half of key-switch area on the keyboard) and enable
easy and rapid dynamic and fluid articulation changes, we developed our virtual key-switch system.
Our system includes a few different types of key-switches, characterized by several different types of behavior.
Some change the instrument's playing state, some trigger special articulations, and some offer extended variation of
music articulations through key-combinations. Each of these types is color coded on the virtual keyboard.
The multidimensional state-machine:
What is a multidimensional state-machine?
When you choose to play with a certain type of vibrato or another, or maybe with no vibrato at all, you change the
playing state of the instrument in one dimension: Vibrato. When you want to play with flutter-tonguing or growling, or
without those effects, you're dealing with another dimension of the instrument. What if you want to play with plunger
effects or without them? That's another dimension of the instrument. And choosing the type of plunger pattern is
another dimension. Each of these choices while residing on a separate dimension of the instrument, can be selected
without affecting the other, and the combination of choices on multiple dimensions create new combined states. If for
example, you turn on the flutter-tonguing state, while already being in plunger-pattern state, you get a selection of
plunger effects with flutter-tonguing, and if flutter-tonguing is on, when you hit the key-switch associated with a Fall
articulation, it will trigger a fall with flutter-tonguing articulation. The ability to not just select the technical patch with
the sampled articulation in a technical manner, but rather make your selection in an intuitive and musical manner, while
each musical element has its own independent control makes it both easier to use, and far more efficient in keyboard
real-estate, because in each playing state, the meaning of a key-switch can change and musically lead to a different
result than it would have lead to in a different playing state.
This is a very important concept to understand. Each key-switch can be designated several different functions, that
change and adjust based on active playing states in the various dimensions of the instrument and the musical context.
To avoid confusion about the combined playing state, the main tab of the instruments' interface is the Virtual Keyswitch Monitor, which offers visual monitoring of the playing states in all of the instruments dimensions. More on that in
chapter 7.
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Temporary Articulations:
One other original concept first introduced to virtual instruments by Broadway Big Band, is bi-directional key-switches;
key-switches intended for special articulations that are only needed for a moment, temporarily, and not as an articulation
to play entire melodies in. (Falls, shakes, etc...) Traditional key switches affect all the notes played after them. If you want
to go back to playing with sustain samples after playing an effect, using traditional key switches you will have to press
the effect key, play the effect note, then quickly press the sustain key-switch again (and you'd better remember which
vibrato type you were using prior to switching to the effect) and only then can you play the rest of the melody. With
quick passages this is simply impractical. Bi-Directional key-switches make the whole thing much easier, because notes are
only being affected by them while they're pressed and held down. Once a Bi-Directional key-switch is released, the
instrument goes back to playing in its active playing state, remembering the type of vibrato last used and whether or not
plunger or flutter where activated. This makes it much easier to perform even very complicated phrases flawlessly and in
real-time.
Active Key-switches (From sustain):
This is yet another concept, first introduced to virtual instruments by Broadway Big band.
These key-switches, typically using the same physical keys as non-active key-switches of a similar articulation, affect
notes that are already being played, and actively trigger samples of articulations that were recorded as from sustain.
For example, if you press and hold (F#0) and then play a note, the note will be played with a Fall articulation. If you on
the other hand, play a sustained note and then, while still holding the note, you click the same (F#0) key-switch, a Fall
from sustain sample will be instantaneously triggered, causing the sustained note to end with a fall. This would be an
Active Temporary Articulation.
Another example: if you click the (F0) key-switch and then play a note, the note will play with flutter-tonguing effect,
played with a soft attack and a mild crescendo, and if you played a note (without flutter-tonguing) and clicked the same
(F0) key-switch while still holding the note, the note will intently cross-fade and change from a clean sustained note to a
note with a flutter tonguing effect. This would be an Active Change of Playing State.
There is also one unique key-switch available for the Tenor-Saxophone 1 instrument, which actively changes
articulations both when being pressed and when being released. Its articulation is Alternate Fingering and you can go
back and forth on the fly between standard fingering and alternate fingering, just by pressing that key-switch and
releasing it. This would be Bi-Directionally Active Temporary articulation.
Key-Switch Combinations:
This is a simple concept borrowed from the all familiar computer keyboard. We all use it all the time. If we want a dollar
sign, we hold the SHIFT button and click the number 4. If we want to save a document we hold the OPTION button or
CTRL button and click S. This enables us to use the same keys we already have in our standard keyboard and add much
additional functionality without requiring much more keyboard real-estate or many additional keys.
Both Broadway Big Band and Broadway Big Band Kontakt Edition are using this concept of key-switch combinations to
achieve the same goal. Extended functionality from as little as possible keyboard real-estate, and keeping is as simple and
intuitive as possible. In Broadway Big Band there are 4 such keys: (C#0), (D#0), (A0) and (B0).
(A0) and (B0) are strictly SHIFT keys, and (C#0) and (D#0) double as Temporary articulation key-switches and as OPTION
keys; (C#0) is both OPTION-KEY1 and STACCATISSIMO, and (D#0) is both OPTION-KEY2 and STACCATO.
When holding any of these shift or option keys while pressing other articulation keys, the combination offers a variation
on that original articulation. For example: (F#0) is Fall down. Pressing (F#0) while holding OPTION-KEY2 (D#0), will result
with a Fall Up (doit) articulation. Same (F#0) press while OPTION-KEY1 (C#0) is held, and the combination will result in
playing a Glide Down articulation. Hold both (C#0) and (D#0) and press the same (F#0) key-switch, and the combination
will result in playing a Fall Down- Slow articulation.
Repetition and the virtual sustain pedal:
The (C0) Temporary key-switch is the Virtual Sustain Pedal. If you have an actual sustain pedal you can use it instead or
in addition. It is there to enable two things: Repetition (legato into the same note), and automatically keeping a phrase
played in legato, when it is too difficult to keep overlapping notes. This is especially relevant in case of very fast musical
phrases or when there are wide gaps between notes, that prohibit a continuous overlapping legato playing.
A detailed list of articulations and their respective virtual key-switches is available in chapter 9
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Chapter 6: Editing Key-Switch actions in the sequencer

While it is possible to play the entire range of key switches in real-time, it is also possible to change, add, or remove
virtual key-switch events after the fact. To do this you must do the following:
Select the MIDI track you want to edit virtual key-switch events in.
Open the piano-roll editor for the selected MIDI track in your sequencer. Key-switch events will appear as note events
below the playable range of the instrument.
Key-switch events for passive virtual key-switching should appear either slightly before the notes they affect or exactly
aligned with them.
Key-switch events for active key-switching function much like note events, so they should be placed where you want the
active key-switching to occur since active key-switches affect currently played notes. They are placed after the
beginning point of the note they affect and before its ending point.
The ending point of a note may be extended (vs. the ending point appearing on the timeline) by using the sustain pedal
(or the virtual sustain pedal key-switch.) In such a case, the extended duration of the note and not the shorter
appearance on the timeline, is the one to consider.
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Chapter 7 The Interface

The instruments in Broadway Big Band Kontakt Edition have up to 4 tabs each. Not all instruments have all 4, but you
should be familiar with these tabs and understand how to use them.
Virtual Key-Switch Monitor:
After reading Chapter 4, hopefully this one is rather self explanatory for the most part.
However, here is an explanation of both the obvious and the somewhat less obvious parts.
The Key Switch Monitor offers a visual representation of the multidimensional playing state and any active temporary
articulation. It is possible to press the playing state buttons with the mouse, and change articulations that way, however,
that would not be recorded into your midi sequencer, so it is always better to use your midi keyboard for all keyswitching. When a certain playing state is active, the correlating button lights up (as seen in the above scree-shot).
When a temporary articulation is active, the name of the temporary articulation appears in the Temporary
Articulations box at the bottom right.
Velocity mode switching:
On the left side, you may notice a column titled Velocity with two options: Kbd + Midi CC and Midi CC Only.
Those are key-switchable from the midi keyboard using (B-1) for the Kbd + Midi CC playing state, and (A-1) for the Midi
CC Only playing state option. Most of the instruments in the Broadway Big Band Kontakt Edition offer this option. By
default, Broadway Big Band instruments respond to Keyboard velocity, and yet while holding a sustained note, the
instrument also responds to the modulation wheel (or any other midi controller you choose to assign to it) creating
smooth modulation-wheel driven crescendos and decrescendos.
Using the new feature, you can click the (A-1) key-switch and going into Midi CC Only mode, the instrument will bypass
and ignore the keyboard velocity and will only consider the modulation wheel (or any other Midi CC of your choice) in
deciding the velocity of the notes played. Clicking the (B-1) key-switch will bring you back to the default state in which
both the midi keyboard velocity and the midi controller are considered.
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Alternates tab:
This tab is mostly for advanced users who want ultimate control over the cycles of alternate samples.
That said, you should always use this tab when mixing multiple microphone setups of the same instruments that need to
remain in sync with one another. After loading a second microphone setup, click the Reset Cycles button on both
versions of the instrument (without playing any notes in the middle of the process). The alternate cycles of the two
versions will then be aligned.
Now for the more advanced uses of this tab:
Broadway Big Band has a unique patent-pending way of handling alternate samples(AKA "Round robin" ).
Alternate samples are multiple recorded versions of the same note of the same articulation and same dynamic level,
which are intended to be played consecutively one after the other in case of repeating notes, in order to avoid the
"Machine-gun effect" which is the very unconvincing sound of the same exact sample played repeatedly. Most of the
modern virtual samplers support that feature, however the way in which it is implemented is radically different.
Most samplers offer a single cycle for alternate-samples (AKA "Round robin" ) so that each note played moves the cycle
one step forward. This method presents two main problems.
The number of alternate takes must be consistent throughout the entire instrument, whether it makes sense or not.
In case of for example two alternate takes, when you play a trill, because of the way it is managed, the entire idea of
alternate samples is rendered useless, as each time each of the trilling notes is played, it triggers the same take of each
of them.
The way it is done in Broadway Big Band is fundamentally different. There are individual and separate cycles of alternate
samples for each note of each articulation in each dynamic level, allowing inconsistency of the number of alternate
samples between the different notes articulations and dynamic levels, and also, as a result, the script moves each cycle
separately, only when the same note of the same articulation and dynamic level is repeated. The result is a completely
life-like performance which sounds slightly different every time you play it Just like what you get when using real live
musicians on a recording session.
This is very refreshing; However, sometimes you will want to lock performance, just like you do when recording a good
take of a live musician. This is what the Alternates tab is for. In this tab there are 20 snapshot buttons. When you click
Store and then click one of the 20 snapshot buttons, a snapshot of all alternate cycles of the relevant instrument is
stored in that button.
Now can be recalled at any time, by either clicking the button again at any time, or (and this is the more useful and
practical way), in order to automatically recall an alternate cycle snapshot for an instrument, go to your midi sequencers'
piano-roll editor or any other editing window that allows step-time entries and add a short note at (C-1) , just like you
would have added a key switch right before a note, giving it the velocity value identical to the number on the snapshot
button you want to automatically recall. For example, if you want to recall snapshot number 3, add a short note in the
sequencer at (C-1) with a velocity value of 3.
To learn more about editing key-switches in the sequencer's piano roll please refer to chapter 6.
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Dump / Reload tab:

Some of the more RAM intensive instruments in the Broadway Big Band collection, now offer a Dump / Reload tab.
Let's say there's just no way you're using plunger effects or chromatic runs in the song you're currently working on. Why
have all these samples loaded and take up RAM when you don't use them?
Now you can go to the Dump / Reload tab, select the articulations you do not use, and click the Dump/Reload selected
articulations button. The unneeded articulations will be purged from the computer's memory, and when you save the
song you will save it like that, so next time you load that song it will automatically load with only the relevant
articulations.
Best of all, if next week you get back to that same song and decide to change your mind, it's not too late.
Just select the articulation you want to use again, and click the Dump/Reload selected articulation button. The
articulation will be loaded back to the instrument.
Options tab:
In the options tab you can change the midi controllers used. The default controllers are the modulation wheel (1) and the
volume pedal (7). You can change those by either changing the numeric value, or use the learn function, by clicking the
learn button and then move the midi controller you want to use.
There is also a Legacy Mode button. It was put there to help porting projects from the HALion powered version, so that
they would play correctly in spite of some of the programing changes. Legacy Mode is not yet fully functional, and we
suggest you do not rely on it for now.
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Chapter 8 Drums
There are a few things you should know about the drum kits in Broadway Big Band, if you want to get the most out of
them. These are just a few concepts that aren't obvious, and that are not found in most other sampled drums.
Concept:
The drums in Broadway Big Band were recorded with a no-compromise attitude. While the most important secret
weapon was the drummer (Tim Newton), it seems that all the elements came together in a perfect way. The room, the
old Neav board, and the amaizing recording engineer. We recorded it all with 25 microphones and onto 36 multi-track
channels at 24bit/192Khz. Problem was that we ended up with so much multi-track content, that the scope of a virtual
instrument that Drum kits are not its main focus prohibited us from including it all. Instead, we decided to do a sweetspot stereo mix-down and a 24bit/44.1Khz down-conversion, to reduce it to a more manageable size.
Multi-channel output
That said, for mixing convenience, we offer (multi) versions of the kits in which the different parts of the kit are sent
to 5 separate stereophonic outputs, starting at stereo2.
The kits are separated to:
Kick drum
Snare drum
Hi-Hat
Toms
Cymbals
In order to take advantage of the multi-output versions of the drum kits in the stand-alone mode, you will have to add
more output channels in Kontakt and assign them to actual outputs. When used as a plug-in, you will have to use a
version of the plugin that offers enough outputs to accommodate the output configuration and enable and/or activate
those channels in your host mixer.
Mapping concept:
To accommodate the numerous articulations and left-hand/right-hand variations in an intuitive as possible manner, we
decided to adopt a mapping concept that imitates the shape of physical drums, known as Mirroring.
The idea is simple. A group of keys is designated to a single drum or a cymbal, and the right-hand and left-hand versions
of the articulations correlates with the physical instrument, so the outer edges of the group of keys would play samples
recorded playing on the outer edges of the instrument, and the closer to the center of the group of keys, the closer to
the center of the physical instrument it gets. Since a midi keyboard has a pattern of white keys and black keys, and the
black keys are physically higher than the white keys, this is used to make the mapping yet more intuitive. For example,
Rim samples of snare and toms are mapped on black keys exclusively, and so as Bell samples of cymbals.
To keep the overall mapping somewhat compatible with industry standards, we placed the kick drum at the bottom of
the keyboard, the many keys designated to the snare, right above that, then the several keys of the closed high-hat,
then open high-hat, floor drum, rack-toms, and then the cymbals. The main kit (played with sticks) is taking up 86 of the
88 keys of the keyboard. The Brush-kit uses a bit less.
Choking Cymbals:
Cymbals tend to have very long sustaining sound, both in real life and when sampled. Some just fade them out. We took
a different approach, but there's no doubt that sometime they have to be stopped. Being that we're trying to emulate
the real thing, we decided to do what drummers do when they want to stop their cymbals. Chock them.
One unusual feature of the Broadway Big Band drum kits, is the ability to chock cymbals, much like it's done in real life.
One of the keys designated to each of the cymbals (the ones we recorded that articulation for) has a sample mapped to
it, of just the chocking of an already sustaining cymbal. It sounds much like a release note and is not really meant to be
played by itself. Just like with release samples (the ones that are automatically played when you release the key that is
playing a sustain note, and add the natural ending of a note and its slight reverberation in the room), it is when used in
context of ending a sustained note, that the real magic happens.
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Hi-Hat as a legato instrument:

One of the most irritating problems with most sampled Hi-Hats is how fake sounds the transition between an open Hi-Hat
and a closed Hi-Hat, or how confusing it is even when there is a stomp sound, mapped to a different key, and yet how
still fake the overall sounds. In reality, there is a huge difference between how a stomp sounds, and how an open hi-hat
that had just been hit, sounds when it is closed. Even more importantly, most drummers don't just close the high-hat but
rather also hit it again once it's closed. Being that we were already dealing with extensive legato sampling, we decided to
figure out a better way to tackle that issue, and decided to treat the Hi-Hat as a legato instrument. We recorded all the
transitions (with and without hits, different speeds, etc...) and programmed it to respond and activate the various legato
transitions based on timing.
That is why you can see a little box on the drum-kit interfaces, in which you can define how long after you hit the Hi-Hat
when it's open, Broadway Big Band will consider hitting a closed Hi-Hat articulation as a related note, to be played as a
legato interval. The default is 2500 milliseconds, and it should work for most scenarios, but the control is there in case
you want to make any adjustments.
Chapter 9 Strumming
The Banjo and the Ukulele instruments in the Broadway Big Band collection now offer a strumming script that enables
you to hold the notes that you want to make a chord with, and then strum up and down in various articulation types,
using active key-switches. This strumming mode can be activated or deactivated via key-switching. With strumming
turned off, you can play all of the notes and articulations freely, and the script will automatically alternate between upstroke and down-stroke playing, unless you're playing a chord, in which case the plucking direction will remain the same
throughout the playing of that chord.
On the Key-switch monitor tab of these instrument you can also adjust the minimum and maximum duration of the
automatic strumming. In strumming mode, the script automatically strums faster to louder velocities and slower to
softer velocities.
A detailed list of key-switches can be found in chapter 11.
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Chapter 10: Choosing and loading Microphone setups

Introduction:
In music production, using live session players in a recording studio you would typically try to choose your microphones,
preamplifiers and microphone positions based on the genre and style of your production. We feel you should have this
kind of choice when working with samples as well.
As a result, aside from the drum-sets all of the instruments included in Broadway Big Band, were recorded and delivered
with several different microphones applying various recoding styles and techniques, capturing each of the single-note
performances in multiple different ways. Now you can choose and load the microphone selection that best feet you
current production.
Microphone setups for Trumpet:

Mic1: Close Mic
A Large capsule condenser tube microphone (149).
This microphone setup is relatively close and offers a fairly dry and focused sound, but it is still far enough to let the
instrument breathe and the sound to fully develop, allowing some of the room reflections to be included, adding
brightness and size.
Mic2: Tight mic
(Small Caplsule)
This microphone setup is very close to the instrument, and it delivers a super dry sound with almost no room reflections.
Creates a very dry and "personal" feel. Also great with the muted instruments for a supper-cool jazzy sound.
Mic3: Loose mic
A Large capsule condenser microphone (U87)
This Microphone setup is still fairly close to the instrument, but simulates the studio micing style typical for a large
ensemble such as a large big-band. Using a vintage tube preamplifier, it delivers warm and rounded yet powerful sound,
and due to the relative distance from the instrument, it includes significantly more room reflections than the two close
microphone setups. This setup delivers a "bigger" sound image than the close microphone setups, as the sound tends to
acoustically buildup in the air, and with the added room reflections you get a "Fatter" sound. This Microphone setup is
very useful especially for jazz-oriented pieces, and if you want to "glue" the instruments together, making them sound as
if they were recorded as an ensemble, sharing microphones in a single room.
This is also a good option if you want a soloist sound that needs to be incorporated in a symphonic arrangement.
Mic 4: Room Mic
Positioned high above the instrument, near the high ceiling of the studio, this microphone setup includes a lot of room
reflections, yet it is still aimed at the instrument and not from very far away so you still get a direct signal from the
instrument, but it is well-blended with the room reflections. The height of the microphone helps it in ignoring the
acoustical gobos that are altering the acoustical characteristics of the other microphones, letting the entire large liveroom to be heard. This Microphone setup can be used as a natural reverb, when combined with any of the other
microphone setups, or could be used by itself when a softer wide-and-far sound is desired. This is also very useful if you
want to include any of the Broadway Big Band instruments in a symphonic arrangement, and make it blend with the rest
of the symphonic ensemble.
MIC 5 Ribbon MIC
A small Ribbon microphone in tight positioning.
Very vivid and natural sound. Almost no room reflections. Great for R&B as well as for hot and dry Latin brass section
sound. When combined with microphone 4, you get the awesome typical Latin sound.
MIC 6 "PA MIC"
This is a popular dynamic microphone that is often used in live-show situations and will blend very well with live
instruments when using Broadway Big band in live-shows where a similar microphone is being used to pick-up the other
- 12 -
instruments of the ensemble.
Microphone setups for Trombone:

Mic1: Close Mic
A small Ribbon microphone, setup is relatively close and offers a fairly dry and focused sound, but it is still far enough to
let the instrument breathe and the sound to fully develop, allowing some of the room reflections to be included, adding
Mic2: Tight mic
(Small Caplsule)
Creates a very dry and "personal" feel. Also great with the muted instruments for a supper-cool jazzy sound.
Mic3: Loose mic
Mic 4: Room Mic
Microphone setups for Soprano Saxophone:
Mic1: Close Mic
Mic2: Tight mic
A Large capsule condenser microphone (414).
It gives the saxophones a modern poppy sound suitable mostly for pop-solos and/or slim focused sound of a popsection.
Mic3: Loose mic
- 13 -
Mic 4: Room Mic
Microphone setups for Alto Saxophone:

Microphones 1-4 the same as with the Soprano saxophone.
MIC 5 "PA MIC"
This is a popular dynamic microphone that is often used in live-show situations and will blend very well with live
instruments when using Broadway Big band in live-shows where a similar microphone is being used to pick-up the other
instruments of the ensemble.
Microphone setups for Tenor Saxophone:
Same as with Alto Saxophone.
Microphone setups for Baritone Saxophone:
The Baritone saxophone has 4 microphone setups to choose from and/or combine.
Mic1: Close Mic
This microphone setup is intended for Funk, Salsa, and any other situation where you need a powerful, vivid and bright
sound.
Mic2: Tight mic
A Large capsule condenser microphone (414).
It lets the baritone saxophone have a very aggressive "in your face" sound, which will easily cut through the mix.
Mic3: Loose mic
- 14 -
Mic 4: Room Mic

Microphone setups for Upright Bass:

The Upright Bass is different than most of the other instruments of the Broadway Big Band, as one of the most
recommended setups is a combination of two microphone positions, and also because one of its microphone positions is
actually a pickup.
Microphone 1:
This large diaphragm condenser microphone (U87) is positioned near the neck of the Bass. This gives this microphone
position an edge, delivering powerful attack without overloading the low frequencies. In order to get a "fatter" sound it is
highly recommended to mix this microphone setup with the Mic-3 setup, as they were recorded with the intention of
being mixed together.
Microphone 2:
This microphone setup is simply the onboard pickup of the upright bass which was recorded. Nothing fancy, but if you
want a genuine pickup sound this microphone setup is for you.
Microphone 3:
This large diaphragm condenser microphone (U87) is positioned near the sounding board of the upright bass and uses a
vintage tube pre-amplifier, so it is loaded with healthy phat low frequencies. It is great by itself for a jazzy warm sound
without too much emphasis on the attack of the plunking. However, as mentioned above, it is highly recommended to
combine this microphone setup with the "Mic1" setup for an extra punch.
Microphone 4:
This large diaphragm tube condenser microphone (149) is positioned in front of the center of the upright bass as a loose
mic, using a vintage tube pre-amplifier. It is suitable in those cases where other microphone setups feel overwhelmingly
massive and close. As it is not as close to the instrument it dose not have as much size and punch as mic1 and mic3, but
it has its own qualities. The extra distance from the instrument lets the sound develop and breathe. If you want to take
advantage of these advantages without sacrificing low frequencies, simply add more Low frequencies by EQ-ing it. It is
also possible to combine this microphone setup with mic3 for extra boost on the low frequencies (no phasing issues are
going to be presented by it) but as both mic3 and mic1 are close microphone positions which are meant to be combined
with each other for a combined close-micing setup, combining mic4 with any of them (1 or 3) may not provide you with
the unique advantages of either close micing or loose micing, however, you may experiment with the various
combinations and create just the sound you want for the specific production you are working on
Microphone setups for Banjo / Ukulele:
There are two stereophonic microphone setups for both the Banjo and the Ukulele.
The differences are in the over-all sound as a result of microphone angles and stereo imaging. Two ribbon microphones
and two condenser microphones were used.
Simply experiment with both and use the one the most suits your current production.
Microphone setups for Latin Percussions:
All of the Latin percussion instruments were recorded roughly the same way, so this following description is appropriate
- 15 -
for all of them (Congas, Bongos, Timbalitos, and the various percussion toys). There are 3 stereophonic microphone
setups that can be used individually or in combination with any or all of the others.
Microphone Setup 1:
"Close Microphone Setup".
This stereophonic pair of dynamic microphones (SM57) simulates a live performance situation, and is also good when you
want the percussion to easily cut through the mix and sound close and crisp. The stereo image is super-wide (to the
extent that sometimes an instrument will only be heard on one side of the panorama with virtually no sound bleed on
the other. You can always narrow the stereo image down a notch if you want to do so, by adjusting the PAN knobs in
your mixer, or by adding the "Room microphone setup" (Microphone-Setup 3).
Microphone Setup 2:
"Loose Microphone Setup".
This stereophonic pair of large diaphragm condenser microphones (C414) was positioned behind the performer, and
hence capture a rich room reflection content in addition to a wide stereo image of the instruments themselves. You can
always narrow the stereo image down a notch if you want to do so, by adjusting the PAN knobs in your mixer, and/or by
adding "Microphone Setup 3" which has a narrower stereo image. This microphone setup can be used by itself to blend
smoothly in the mix (or for a high-end sounding percussion solo part), or in conjunction with "Microphone Setup 1" for
extra punch. However, once again, combining all three stereophonic microphone setups is recommended, as it provides
maximum sonic control when mixing.
Microphone Setup 3:
"Room Microphone Setup"
This stereophonic pair of large diaphragm condenser microphones (U87) were positioned high above and behind the
percussionist, facing the large live room and capturing its reflections. In order to prevent phasing issues and avoid too
long of a distance from the instruments, they were setup in an X shape at the center, and hence provide a narrower, yet
very natural stereo image. This microphone setup can be used as a natural reverb, or to simulate a situation of
microphone-bleed. It can also be used by itself if the production calls for long micing of the percussion.
Microphone setups for Xylophone

The Xylophone was recorded with 3 stereo pairs of microphones that can be all mixed together in various ways to
accommodate your mix for whatever genre you're working in. However, this xylophone is not intended for symphonic
applications but rather for anything and everything other than that.
Microphone setup 1:
A stereo pair of large diaphragm condenser microphones positioned at the top of the xylophone, capturing the most
punch and emphasizes the attack and detail of the sticks hitting and rubbing the wooden instrument. This stereophonic
microphone setup delivers a bright sound with much detail, especially in the high frequencies.
Microphone Setup 2:
A stereo pair of ribbon microphones, using a vintage tube pre-amplifier and positioned under the xylophone. This
stereophonic microphone setup delivers the "meat" of the acoustical tone of the instrument, and it is usually a very good
idea to use it in conjunction with "microphone setup 1" or in some cases just by itself. Even though it is not as physically
close to the surface of the xylophone keys, it still presents a nice punch and attack, but also a warmer, fuller, and more
pleasing tone.
The recommended combination for close-micing is the combination of "microphone setup 1" and "microphone setup 2".
Microphone Setup 3:
"Room-mic". This Stereophonic pair of microphones captures the xylophone from a distance, yet without sacrificing the
stereo width and spread, due to the special way they were positioned compared to the acoustical gobos that were used.
This stereophonic microphone setup can be used by itself for long-micing applications, or in conjunction with any one of
the other microphone setups or with both.
- 16 -
Chapter 12 Articulations detailed lists of articulations and key-switches of all instruments:

In the following pages you'll find tables listing all of the articulations and key-switches of all of the instruments in the
collection. For the purpose of clarity, we'll be using shortened language to describe key-switch behaviors:
Passive State-change is a key-switch that changes the playing state of an instrument for all notes to follow it.
Active State-Change is a key-switch that changes the playing state of an instrument, affecting an already
presently played note.
Passive Temp is a key-switch that triggers a temporary articulation for notes to be played while it's held down.
Active Temp is an key-switch that triggers a temporary articulation for an already presently played note.
Passive / Active Temp is passive if pressed before playing a note. Active if pressed to affect an ongoing note.
Bi-Directional Active is a key-switch that triggers a temporary articulation for an already played note both
when pressed and when being released. (only applicable to the Alternate Fingering articulation).
Also, we employ the following word coding:
Hold refers to SHIFT and OPTION keys that need to be held while pressing the main articulation key-switch.
When it says Hold press and hold that key-switch first.
Press refers to a temporary articulation key-switch that needs to be pressed and held while playing the notes
that are to be affected by it.
Click refers to both active temporary articulations such as Fall from sustain, and all playing-state keys, and it
means that once you click that key-switch, there is no need to keep it pressed down, and any SHIFT and/or
OPTION keys held for it can be released as well.
- 17 -
Alto-Sax-1
Articulation
Required
Key-switches
Playing States
Behavior
Sustain Prog Vib
Growl Off (E0)
Click(C1)
Passive State-change
Switch to Sustain Prog

Vib
Growl Off (E0)
Hold(A0) + Click(C1)
Active State-change
Sustain Deep Vib
Growl Off (E0)
Click(D1)
Switch to Sustain Deep

Vib
Growl Off (E0)
Hold(A0) + Click(D1)
Active State-change
Sustain with Growl
Click(F0)
Active State-change
Growl Off
Click(E0)
Active State-change
Legato
Comments
Play notes in an overlapping fashion

(legato) to trigger the articulation.
Staccato
Press(D#0)
Passive Temp
Staccatissimo
Press(C#0)
Passive Temp
Legato to short
Press(C#0) or (D#0)
Passive Temp
Fall down fast
Growl Off (E0)
Press(F#0)
Passive / Active Temp
Fall down fast w growl
Growl On (F0)
Press(F#0)
Glide down
Growl Off (E0)
Hold(C#0) + Press(F#0)
Fall down slow
Hold(C#0)+(D#0) + Press(F#0) Passive / Active Temp
Fall up
Hold(D#0) + Press(F#0)
Fall up slow
Hold(B0) + Press(F#0)
Smear into sustain
Press(D0)
Passive Temp
Slow smear into sustain
Hold(C#0)+(D#0) + Press(D0) Passive Temp
Smear legato
Press(D0)
Passive Temp
Sforzzando
Press(G#0)
Passive Temp
Marcato + Dirty Vibrato
Press(G0) or
Hold(A0)+Press(G#0)
Grace Note
Press(A#0)
Passive Temp
- 18 -
Press and hold key-switch when a note

is played, then play a second note in
an overlapping fashion (legato) to
trigger the articulation.
Hold key-switch while a note is played,

then play a second note in an
overlapping fashion (legato) to trigger
the articulation.
Trumpet-1
Articulation
Required Playing Key-switches

States
Behavior
Sustain Prog Vib
Plunger Off (E1)

Flutter Off (E0)
Click (C1)
Switch to Sustain Prog Vib
Plunger Off (E1)

Flutter Off (E0)
Hold (A0) + Click (C1)
Active State-change
Sustain Deep Vib
Plunger Off (E1)

Flutter Off (E0)
Click (D1)
Switch to Sustain Deep Vib
Plunger Off (E1)

Flutter Off (E0)
Hold (A0) + Click (D1)
Active State-change
Sustain No Vib
Plunger Off (E1)

Flutter Off (E0)
Hold (B0)+Click (C1)
Switch to Sustain No Vib
Plunger Off (E1)

Flutter Off (E0)
Hold (A0) + Hold (B0)+Click (C1)
Active State-change
Legato (Prog Vib)
Plunger Off (E1)
Staccato
Plunger Off (E1)
Press (D#0)
Passive Temp
Staccatissimo
Plunger Off (E1)
Press (C#0)
Passive Temp
Legato to short
Plunger Off (E1)
Press (C#0) or (D#0)
Passive Temp
Fall down fast
Flutter Off (E0)
Hold (C#0) + Press (F#0)
Fall down slow
Press (F#0)
Fall down very slow
Hold (C#0) + Hold (D#0) + Press (F#0) Passive / Active Temp
Fall up (doit)
Hold (D#0) + Press (F#0)
Fall up slow
Hold (B0) + Press (F#0)
Smear into sustain
Press (D0)
Passive Temp
Rip up into short note
Hold (D#0) + Press (D0)
Passive Temp
Rip down to sustain
Hold (C#0) + Press (D0)
Passive Temp
Comments
Play notes in an
overlapping fashion
(legato) to trigger the
articulation.
Rip up to sustain no vib
Flutter Off (E0)
Hold (D#0) + Hold (C#0) + Press (D0)
Passive Temp
Rip up to sustain deep vib
Flutter Off (E0)
Passive Temp
Smear down and back
Hold (A0) + Press (D0)
Passive Temp
Sfz + Cresc - Fast
Hold (C#0) + Press (G#0)
Passive Temp
Sfz + Cresc Slow
Hold (D#0) + Press (G#0)
Passive Temp
Marccato + Mild vibrato
Hold (A0) + Press (G#0)
Passive Temp
Shake Fast
Hold (A0) + Press (A#0)
Passive Temp
Shake Slow
Hold (A0) + Hold (B0) + Press (A#0)
Passive Temp
Grace Note
Press (A#0)
Passive Temp
- 19 -
Press and hold keyswitch when a note is

played, then play a
second note in an
overlapping fashion
(legato) to trigger the
articulation.
Articulation
Required Playing Key-switches

States
Behavior
Comments
Chromatic Runs
Press (D#1)
Passive Temp
Affects the notetransition style when

playing legato
(overlapping notes)
Rip Portamento
Press (C#1)
Passive Temp

playing legato
(overlapping notes)
Rip Portamento to short
Hold (D#0) + Press (C#1)
Passive Temp

playing legato
(overlapping notes)
Flutter sustains
Click (F0)
Active State-change
Growl sustains
Hold (A0) + Click (F0)
Active State-change
Flutter/Growl Off
Click (E0)
Active State-change
Flutter Hard attack
Flutter On (F0)
Press (G0)
Passive Temp
Fall down (fast) with flutter
Flutter On (F0)
Press (F#0)
Rip up to sustain with flutter Flutter On (F0)
Passive Temp
Plunger On
Click (F1)
Plunger Off
Click (E1)
Plunger Pattern 1
Plunger On (F1)
Flutter Off (E0)
Click (C1)
Plunger Pattern 2
Plunger On (F1)
Flutter Off (E0)
Plunger Pattern 3
Plunger On (F1)
Flutter Off (E0)
Click (D1)
Plunger Pattern 4
Plunger On (F1)
Flutter Off (E0)
Hold (B0)+Click (D1)
Plunger Pattern 1 w/ Flutter Plunger On (F1)

Flutter On (F0)
Click (C1)

Flutter On (F0)

Flutter On (F0)
Click (D1)

Flutter On (F0)
Staccato closed plunger
Plunger On (F1)
Press (C#0)
Passive Temp
Staccato open plunger
Plunger On (F1)
Press (D#0)
Passive Temp
- 20 -
Tenor-Sax-1
Articulation
Required
Key-switches
Playing States
Behavior
Comments
Sustain prog vib
Growl Off (E0)
Click (C1)
Hold down the A0 to actively

switch to this vibrato from an
already played sample
Switch to sustain prog vib
Growl Off (E0)
Hold (A0)+Click (C1)
Active State-change
Sustain No Vib
Growl Off (E0)
Hold (B0) + Click (C1)
Switch to sustain no vib
Growl Off (E0)
Hold (A0)+(B0) + Click (C1)
Active State-change
Hold (A0) + Click (A#0)
Sustain Strong Vib

Legato (prog vib)
Hold down the A0 to actively

switch to this vibrato from an
already played sample
Play notes in an overlapping

fashion (legato) to trigger the
articulation.
Staccatissimo
Press (C#0)
Passive Temp
Staccato
Press (D#0)
Passive Temp
Legato to short
Passive Temp
Smear into note
Growl Off (E0)
Press (D0)
Passive Temp
Smear w/ Growl
Growl On (F0)
Press (D0)
Passive Temp
Slow smear into note
Hold (D#0) + Hold (C#0) + Press (D0) Passive Temp
Passive Temp
Growl Sustain
Click (F0)
Active State-change
Growl Off
Click (E0)
Active State-change
Fall Down Fast
Growl Off (E0)
Press (F#0)
Passive / Active
Temp
Fall Down Fast w/ Growl
Growl On (F0)
Press (F#0)
Passive / Active
Temp
Glide Down
Growl Off (E0)
Passive / Active
Temp
Glidw Down w/ Growl
Growl On (F0)
Passive / Active
Temp
Fall Down Slow
Hold (C#0) + Hold (D#0) + Press

(F#0)
Passive / Active
Temp
Fall Up
Passive / Active
Temp
Marccato + Dirty Vibrato
Press (G0) or
Hold (A0) + Press (G#0)
Passive / Active
Temp
Marccato + Mild Vibrato
Hold (B0) + Press (G#0)
Passive Temp
Marccato + No Vibrato
Hold (C#0) +Press (D#0)
Passive Temp
Sforzzando
Press (G#0)
Passive Temp
Sforzzando + Cresc Fast
Passive Temp
- 21 -
Press and hold key-switch

when a note is played, then
play a second note in an
overlapping fashion (legato)
to trigger the articulation.
Sforzzando + Cresc Slow
Alternate Fingering
Press (C#1)
Clap FX

(G#0)
Passive Temp
Passive Temp
Alto-Sax-2
Articulation
Required
Playing
States
Key-switches
Behavior
Comments
Staccatissimo
Passive Temp
Fall Down Fast
Press (F#0)
Sustain Prog Vib
Tenor-Sax-2
Articulation
Required
Playing
States
Key-switches
Behavior
Sustain Deep Vibrato
Click (C1)
Sustain No Vibrato
Legato (prog vib)
Comments

articulation.
Staccatissimo
Press (C#0)
Passive Temp
Staccato
Press (D#0)
Passive Temp
Legato to short
Passive Temp
Smear into note
Press (D0)
Passive Temp
Slow smear into note
Passive Temp
Fall Down Fast
Press (F#0)
Fall Down Slow
Fall Up
Sforzzando
Press (G#0)
Passive Temp
- 22 -
Bari-Sax
Articulation
Required
Playing
States
Key-switches
Behavior
Sustain No Vib
Growl Off
(E0)
Click (C1)
Passive Statechange
Switch to Sustain No Vib
Growl Off
(E0)
Active State-change
Sustain Vib
Growl Off
(E0)
Click (D1)
Passive Statechange
Switch to Sustain Vib
Growl Off
(E0)
Active State-change
Legato no-vib
no-vib
Legato with vibrato
deep-vib
Comments

articulation.
Growl Sustain
Click (F0)
Active State-change
Growl Off
Click (E0)
Active State-change
Staccatissimo
Press (C#0)
Passive Temp
Staccato
Press (D#0)
Passive Temp
Double staccato
Hold (C#0) +Press (D#0)
Passive Temp
Triple staccato
Hold (B0) + Click (A#0)
Passive Temp
Legato to short
Passive Temp
Smear into sustain
Press (D0)
Passive Temp
Sforzzando
Press (G#0)
Passive Temp
Sforzzando + Cresc - Fast
Passive Temp
Sforzzando + Cresc Slow
Passive Temp
Grace note sustain
Press (A#0)
Passive Temp
Grace note short min2-up
Hold (D#0) + Press (A#0)
Passive Temp
Grace note short maj2-up
Hold (C#0) + Press (A#0)
Passive Temp
Grace note short min2down
Hold (C#0) + Hold (D#0) + Press (A#0) Passive Temp
Double grace note short
- 23 -
Passive Temp
Press and hold key-switch

when a note is played, then
play a second note in an
overlapping fashion (legato) to
trigger the articulation
Trombone
Articulation
Required
Playing States
Key-switches
Behavior
Sustain no vib
Flutter Off (E0)
Click (C1)
Flutter Off (E0)
Hold (A0)+Click (C1)
Active State-change
Sustain vib
Flutter Off (E0)
Click (D1)
Switch to sustain vib
Flutter Off (E0)
Hold (A0)+Click (D1)
Active State-change
Legato
Flutter Off (E0)
Flutter tongue
Click (F0)
Active State-change
Flutter Off
Click (E0)
Active State-change
Flutter Off (E0)
Click (G0)
Passive Temp
Flutter sustain hard attack Flutter On (F0)
Click (G0)
Passive Temp
Gliss Portamento
Flutter Off (E0)
Click (C#1)
Passive Temp
Gliss Portamento w/
Flutter
Flutter On (F0)
Click (C#1)
Passive Temp
Sforzzando
Press (G#0)
Passive Temp
Passive Temp
Sforzzando + Cresc
Slow
Passive Temp
Sustain hard attack
Staccatissimo
Flutter Off (E0)
Press (C#0)
Passive Temp
Staccato
Flutter Off (E0)
Press (D#0)
Passive Temp
Flutter Staccato
Flutter On (F0)
Passive Temp
Smear sustain no vibrato
Vibrato None
(C1)
Plunger Off (E1)
Press (D0)
Passive Temp
Smear sustain vibrato
Vibrato Normal
(D1)
Plunger Off (E1)
Press (D0)
Passive Temp
Shake Fast
Passive Temp
Glide into staccato
Passive Temp
Passive Temp
Fall Down Fast
Flutter Off (E0)
Press (F#0)
Fall Down Fast w Flutter
Flutter On (F0)
Press (F#0)
Glide Down
Flutter Off (E0)
Fall Down Slow
Hold (C#0) + Hold (D#0) + Press (F#0)
Wow (marccato)
Hold (B0) + Press (G#0)
Passive Temp
Plunger On
Click (F1)
Plunger Off
Click (E1)
Click (C1)
Plunger Pattern 1
Plunger On (F1)
Flutter Off (E0)
- 24 -
Comments
Articulation
Required
Playing States
Key-switches
Behavior
Plunger Pattern 2
Plunger On (F1)
Flutter Off (E0)
Plunger Pattern 3
Plunger On (F1)
Flutter Off (E0)
Click (D1)
Plunger Pattern 4
Plunger On (F1)
Flutter Off (E0)
Press (D0)
Passive Temp
Smear w/ plunger + flutter Plunger On (F1)

Flutter Off (E0)
Flutter w/ closed plunger
Plunger On (F1)
Flutter On (F0)
- 25 -
Comments
Clarinet
Articulation
Required
Playing
States
Keyswitches
Behavior
Comments
Smear into note
Press (D0)
Passive Temp
Smear legato
Press (D0)
Passive Temp
Glide down
Press (F#0)
Passive Temp
Sustain prog vib

Legato
Soprano Sax
Articulation
Required
Playing
States
Key-switches
Behavior
Sustain no vib
Click (C1)
Active State-change
Sustain vib
Click (D1)
Switch to sustain vib
Hold (A0) + Click (D1)
Active State-change
Smear into note
Press (D0)
Passive Temp
Staccatissimo
Press (C#0)
Passive Temp
Staccato
Press (D#0)
Passive Temp
Legato to short
Passive Temp
Hold (C#0) + Press (D0) Passive Temp
Legato no vib
Vibrato None
Legato vib
Vibrato Normal
- 26 -
Comments
Trumpet-1 Harmon Mute

Articulation
Required
Playing States
Key-switches
Behavior
Comments
Sustain Prog Vib
Plunger Off (E1) Click (C1)

Stem Off (E0)
Stem Sustain
Plunger Off (E1) Click (F0)
Stem Off
Click (E0)
Plunger On
Click (F1)
Plunger Off
Click (E1)
Wah Wah Pattern 1
Plunger On (F1) Click (C1)
Wah Wah Pattern 2
Plunger On (F1) Hold (B0)+Click (C1)
Wah Wah Pattern 3
Plunger On (F1) Click (D1)
Wah Wah Pattern 4 (Wah

Short)
Plunger On (F1) Hold (B0)+Click (D1)
Wah Short
Plunger On (F1) Press (C#0) or (D#0)
Passive Temp
Staccato closed stem
Plunger Off (F1) Press (C#0)
Passive Temp
Staccato open stem
Plunger Off (F1) Press (D#0)
Passive Temp
Shake Fast
Passive Temp
Fall Down Fast
Press (F#0)
Fall Down Slow

(F#0)
Fall Up (Doit)
Trumpet-1 Cup Mute

Articulation
Required
Key-switches
Playing States
Behavior
Sustain No Vib
Click (C1)
Sustain Deep Vib
Click (D1)
Staccato
Passive Temp
Shake Fast
Hold (A0) + Press (A#0) Passive Temp
Fall Down Fast
Press (F#0)
Passive / Active
Temp
- 27 -
Comments
Trumpet-2
Articulation
Required
Playing States
Sustain Prog Vib
Flutter Off (E0)
Key-switches
Behavior
Comments
Flutter tonguing
Click (F0)
Active State-change
Flutter Off
Click (E0)
Active State-change
Staccato
Passive Temp
Fall Down Fast
Press (F#0)
Fall Down Slow
Fall Up (Doit)
Sforzzando
Click (G#0)
Passive Temp
Passive Temp
Trumpet-2 Harmon Mute

Articulation
Required
Playing States
Key-switches
Behavior
Sustain Prog Vib
Comments
This is the only articulation of this instrument.
Trombone Straight Mute

Articulation
Required Playing
States
Key-switches
Behavior
Comments
Sustain No Vib
Staccato
Passive Temp
Fall Down Fast
Press (F#0)
Trombone Bucket Mute

Articulation
Required
Playing States
Key-switches
Sustain Vib
Behavior
Comments
This is the only articulation of this instrument.
- 28 -
Upright-Bass
Articulation
Required
Playing
States
Key-switches
Behavior
Sustain No Vib
Sustain Deep Vib
Click (D1)
Sustain Normal Vib
Click (C1)
Staccato
Press (D#0)
Passive Temp
Slow gliss down 1 octave (fall down)
Press (F#0)
Passive Temp
Slow gliss up 1 octave (fall up)
Passive Temp
Slap
Press (G#0)
Passive Temp
Bend up into note
Press (D0)
Passive Temp
Bend down into note
Passive Temp
Long Bend up into note
Hold (C#0)+(D#0) + Press (D0)
Passive Temp
Comments
Xylophone Rubber
Articulation
Required
Playing
States
Key-switches
Behavior
Comments
Add scrape releases
Press (D#0)
Passive Temp
Use this when playing glissandos.
Tremolo
Press (G0)
Passive Temp
Releasing a note triggers a new note.
Key-switches
Behavior
Comments
Open
Click (E0)
Passive Statechange
Muted
Click (F0)
Passive Statechange
Open
Xylophone Plastic
Articulation
Required
Playing
States
Open temporary override
Muted (F0) Press (C#0)
Passive Temp
Muted temporary override
Open (E0)
Press (C#0)
Passive Temp
Add scrape releases
Press (D#0)
Passive Temp
Tremolo
Press (G0)
Passive Temp
- 29 -
Releasing a note triggers a new

note.
Ukulele
Articulation
Required
Playing States
Key-switches
Behavior
Up Stroke
Click (C1)
Passive Statechange
Down Stroke
Click (D1)
Passive Statechange
Temporary Up Stroke
Press (F#0)
Passive Temp
Temporary Down Stroke
Press (A#0)
Passive Temp
Enter strum mode
Click (F1)
Passive Statechange
Exit strum mode
Click (E1)
Passive Statechange
Strum up open
Click (F#0)
Active Temp
Strum down open
Click (A#0)
Active Temp
Strum up half muted
Click (F0)
Active Temp
Strum down half muted
Click (B0)
Active Temp
Half muted
Press (D#0)
Passive Temp
Grace note
Press (C#1)
Passive Temp
- 30 -
Comments
Banjo
Articulation
Required
Playing States
Key-switches
Behavior
Sustain up stroke
Strum Off (E1)
Click (C1)
Sustain down stroke
Strum Off (E1)
Click (D1)
Temporary Up Stroke
Strum Off (E1)
Press (F#0)
Passive Temp
Temporary Down Stroke
Strum Off (E1)
Press (A#0)
Passive Temp
Enter strum mode
Click (F1)
Exit strum mode
Click (E1)
Strum upwards open
Strum On (F1)
Click (F#0)
Active Temp
Strum downwards open
Strum On (F1)
Click (A#0)
Active Temp
Strum upwards half muted
Strum On (F1)
Click (F0)
Active Temp
Strum downwards half muted Strum On (F1)
Click (B0)
Active Temp
Strum upwards fully muted
Strum On (F1)
Click (G0)
Active Temp
Strum downwards fully

muted
Strum On (F1)
Click (A0)
Active Temp
Staccato down stroke
Strum Off (E1)

Down Stroke
(D1)
Click (G#0)
Staccato up stroke
Strum Off (E1)

Up Stroke (C1)
Click (G#0)
Half muted down stroke
Strum Off (E1)

Down Stroke
(D1)
Press (D#0)
Passive Temp
Half muted up stroke
Strum Off (E1)

Up Stroke (C1)
Press (D#0)
Passive Temp
Fully muted up stroke
Strum Off (E1)

Up Stroke (C1)
Press (C#0)
Passive Temp
Fully muted down stroke
Strum Off (E1)

Down Stroke
(D1)
Press (C#0)
Passive Temp
Grace note downwards
Strum Off (E1)
Press (D#1)
Passive Temp
Grace note upwards down

stroke
Strum Off (E1)

Down Stroke
(D1)
Press (C#1)
Passive Temp
Grace note upwards up stroke Strum Off (E1)

Up Stroke (C1)
Press (C#1)
Passive Temp
- 31 -
Comments
Drum kit sticks

(B-1)
Kick drum - Soft
(C#3)
Low Reck Muted
(C6)
Crash-Ride Edge (Left)
(C0)
Kick drum
(D3)
Low Reck Edge (Left)
(C#6)
Crash-Ride Bell (Left)
(C#0) SD - Side-Stick
(D#3)
Low Reck Rim (Left)
(D6)
Crash-Ride Tip (Left)
(D0)
(E3)
Low Reck Center (Left)
(D#6)
Crash-Ride Bell (Right)
(D#0) SD Rim (Left)
(F3)
Low Reck Center (Right)
(E6)
Crash-Ride Tip (Right)
(E0)
SD Rim Shot - edge (Left)
(F#3)
Low Reck Rim (Right)
(F6)
Crash-Ride Edge (Right)
(F0)
SD Off Center (Left)
(G3)
Low Reck Edge (Right)
(F#6)
Crash-Ride Chock (hit)
(F#0) SD Buzz Roll (Left)
(G#3)
Hi Reck Muted
(G6)
20 Ride Edge (Left)
(G0)
(A3)
Hi Reck Edge (Left)
(G#6)
20 Ride Bell (Left)
(G#0) SD Stick Click
(A#3)
Hi Reck Rim (Left)
(A6)
20 Ride Tip (Left)
(A0)
(B3)
Hi Reck Center (Left)
(A#6)
20 Ride Bell (Right)
(A#0) SD Buzz Roll (Right)
(C4)
Hi Reck Center (Right)
(B6)
20 Ride Tip (Right
(B0)
SD Off Center (Right)
(C#4)
Hi Reck Rim (Right)
(C7)
20 Ride Edge (Right
(C1)
SD Rim Shot - edge (Right)
(D4)
Hi Reck Edge (Right)
(C#1) SD Rim (Right)
(D#4)
Splash choke
(D1)
(E4)
Splash Left
(D#1) SD Rim Shot Center
(F4)
Splash Right
(E1)
SD Roll to hit
(F#4)
16 Crash Harmonics
(G1)
HH Closed edge (Left)
(G4)
16 Crash Edge (Left)
(G#1) HH Closed Tip (Left)
(G#4)
16 Crash Bell (Left)
(A1)
(A4)
16 Crash Tip (Left)
(A#1) HH Closed Tip (Right)
(A#4)
16 Crash Bell (Right)
(B1)
HH Splash
(B4)
16 Crash Tip (Right)
(C2)
HH Stomp
(C5)
16 Crash Edge (Right)
(C#2) HH Open Tip (Left)
(C#5)
16 Crash chocking
(D2)
(D5)
16 Crash Chock (hit)
(D#2) HH Open Tip (Right)
(D#5)
19 Crash Harmonics
(E2)
HH Open Edge (Right)
(E5)
19 Crash Edge (Left)
(F2)
HH Bark
(F5)
19 Crash Tip (Left)
(F#2) Floor Drum Muted
(F#5)
19 Crash Bell (Left)
(G2)
(G5)
19 Crash Tip (Right)
(G#2) Floor Drum Rim (Left)
(G#5)
19 Crash Bell (Right)
(A2)
(A5)
19 Crash Edge (Right)
(A#2) Floor Drum Rim (Right)
(A#5)
19 Crash chocking
(B2)
Floor Drum Center (Right)
(B5)
19 Crash chock (hit)
(C3)
Floor Drum Edge (Right)
SD - double hit (Left)
SD Center (Left)
SD Center (Right)
SD - double hit (Right)
HH Closed Edge (Right)
HH Open Edge (Left)
Floor Drum Edge (Left)

Floor Drum Center (Left)
- 32 -

Fable Sounds Broadway Big Band 1.0.1

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Fable Sounds Broadway Big Band 1.0.1

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Formati disponibili

Broadway Big Band Kontakt Edition

Thank you for purchasing Broadway Big Band Kontakt Edition!

AND HERE IS AN IMPORTANT NOTE:

From all of us at Fable Sounds, Good luck and congratulations!

Chapter 2: Installation and registration

3) Copying the audio content to your hard-drive:

6) Check the Fable Sounds website for updates. (www.fablesounds.com)

Chapter 3: Loading instruments

Go to the Library tab. Broadway Big Band should be listed.

Chapter 4 Polyphonic vs. Legato Instruments

Chapter 5: Articulation key-switching in Broadway Big Band

Chapter 6: Editing Key-Switch actions in the sequencer

Chapter 7 The Interface

Dump / Reload tab:

Hi-Hat as a legato instrument:

Chapter 10: Choosing and loading Microphone setups

Microphone setups for Trumpet:

instruments of the ensemble.

Microphone setups for Trombone:

Microphone setups for Alto Saxophone:

Mic 4: Room Mic

Microphone setups for Upright Bass:

Microphone setups for Xylophone

Chapter 12 Articulations detailed lists of articulations and key-switches of all instruments:

Also, we employ the following word coding:

Sustain Prog Vib

Growl Off (E0)

Switch to Sustain Prog

Growl Off (E0)

Sustain Deep Vib

Growl Off (E0)

Switch to Sustain Deep

Growl Off (E0)

Sustain with Growl

Play notes in an overlapping fashion

Fall down fast

Growl Off (E0)

Passive / Active Temp

Fall down fast w growl

Passive / Active Temp

Growl Off (E0)

Passive / Active Temp

Fall down slow

Hold(C#0)+(D#0) + Press(F#0) Passive / Active Temp

Passive / Active Temp

Passive / Active Temp

Smear into sustain

Slow smear into sustain

Hold(C#0)+(D#0) + Press(D0) Passive Temp

Marcato + Dirty Vibrato

Passive / Active Temp

Press and hold key-switch when a note

Hold key-switch while a note is played,

Required Playing Key-switches

Sustain Prog Vib

Plunger Off (E1)

Switch to Sustain Prog Vib

Plunger Off (E1)

Hold (A0) + Click (C1)

Sustain Deep Vib

Plunger Off (E1)

Switch to Sustain Deep Vib

Plunger Off (E1)