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The information in this document is subject to change without notice and does not represent a commitment on the part of Garritan Corporation or on the part of Native Instruments GmBH. No part of this publication may be copied, reproduced or otherwise transmitted or recorded, for any purpose, without prior written permission by Garritan Corporation. Use of the Garritan Jazz & Big Band library and the contents herein are subject to the terms and conditions of the license agreement distributed with the library. You should carefully read the license agreement before using this product. The sounds presented in Garritan Jazz & Big Band are protected by copyright and cannot be distributed, whether modified or unmodified. This Guide to Garritan Jazz and Big Band library and articulation lists contained herein are also covered by copyright. Garritan Jazz & Big Band is a trademark of Garritan Corp. KONTAKT is a trademark of Native Instruments GmbH. The information contained herein may change without notice and does not represent a commitment on the part of Garritan Corporation.
Table of Contents
Table of Contents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Garritan Jazz and Big Band At-a-Glance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Welcome to Garritan Jazz and Big Band . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Licence Agreement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . What This Package Includes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . System Requirements & Recommendations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Installing/Getting Started with Garritan Jazz & Big Band . . . . . . . . . . . . . . . . . . . . . . . . . Software Authorization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . How to Use Garritan Jazz & Big Band . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Garritan Jazz & Big Band as a Stand-Alone Application . . . . . . . . . . . . . . . . Garritan Jazz & Big Band as a Plug-In in a Specific Sequencer. . . . . . . . . . . . Using Garritan Jazz and Big Band with a Notation Program . . . . . . . . . . . . . What is Jazz . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Growth of Jazz . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jazz Arranging Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kinds of Jazz . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . Playing Jazz & Big Band Instruments. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Playing Garritan Jazz & Big Band Instruments Basic Controls For All Wind Instruments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Other Controls For All Wind Instruments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Special Features in Both Trumpets and Trombones. . . . . . . . . . . . . . . . . . . . . . . . . . . Additional Features in Just the Trumpets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Controls For the Rhythm Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Woodwind Instruments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Brass Instruments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Rhythm Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Notation Version of JABB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Putting It All Together for a Real-Time Performance . . . . . . . . . . . . . . . . . . . . . . . . Building Sections from Individual Instruments. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Directory of Sounds in Garritan Jazz & Big Band.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Rhythm Section Instruments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Woodwind Instruments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Brass Instruments.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Multis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The World of Sampling and Virtual Instruments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . How the Kontakt Player Works . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Garritan Community . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Getting Help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Acknowledgements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Appendix A: Quick MIDI Controller Reference Guide. . . . . . . . . . . . . . . . . . . . . . . . . . . Appendix B: Drum Maps. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Appendix C: Percussion Maps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 3 4 5 6 6 7 8 10 10 11 12 13 14 17 18 18 19 22 24 25 26 30 31 33 33 34 34 35 35 37 38 41 41 42 47 48 49 52 54 56
License Agreement
Please read the terms of the following software licensing agreement before using this sample collection. By installing and loading this product you acknowledge that you have read this license agreement, understand the agreement and agree to its terms and conditions. If you do not agree to these terms, do not install or use the sounds contained herein. This is the complete agreement between you and Garritan Corporation that supersedes any other representations or prior agreements, whether oral or in writing. An important thing to understand is that YOU ARE OBTAINING A LICENSE FOR YOUR USE ONLY THEY DO NOT BELONG TO YOU. The sounds, samples and programming in the Garritan Jazz and Big Band library remain the sole property of Garritan Corporation and are licensed (not sold) to you. What You Can Do: You can use these sounds in music productions, public performances, and other reasonable musical purposes within musical compositions. You can use these sounds in your own musical compositions as much as you like without any need to pay Garritan Corporation or obtain further permission. If you do use these sounds, we ask that in any written materials or credits accompanying your music that utilizes material from Garritan Jazz and Big Band collection (CD booklet, film credits, etc), that you include the following courtesy credits: "samples used in this recording are from Garritan Jazz and Big Band, or a similar credit where practicable. What You Cannot Do: The enclosed sounds cannot be re-used in any other commercial sample library or any competitive product. You are absolutely forbidden to duplicate, copy, distribute, transfer, upload or download, trade, loan, reissue or resell this library or any of the contents in any way to anyone. You cannot redistribute them through an archive, nor a collection, nor through the Internet, nor binaries groups, nor newsgroup, nor any type of removable media nor through a network. The sounds and samples contained herein cannot be edited, modified, digitally altered, re-synthesized or manipulated without direct written consent of Garritan Corporation. A right to use Garritan Jazz and Big Band is granted to the original end-user only, and this license is not transferable unless there is written consent of Native Instruments GmB and Garritan Corporation and payment of an additional fee. The sounds of Garritan Jazz and Big Band will only work with Native Instruments Kontakt and the bundled Kontakt Player and will not work with any other sampler. Licensor will not be responsible if the content of this disc does not fit the particular purpose of the Licensee. Please make sure before ordering this item that it meets your needs. Information contained herein is subject to change without notice and does not represent a commitment on the part of Garritan Corporation. The sounds are licensed "as is" without warranties of any kind. Garritan Corporation, nor any agent or distributor can be held responsible for any direct or indirect or consequential loss arising from the use of this product in whatever form. The Garritan Jazz and Big Band library may not be returned for any reason other than manufacturing defects. The terms of this license shall be construed in accordance with the substantive laws of the United States of America and/or the State of New York. U.S.A. All product and company names are or trademarks of their respective owners. Garritan Corporation is not responsible if the Kontakt Player or any of the third-party programs do not fit a particular purpose of the Licensee, nor if there are any direct, indirect, or consequential losses arising from the use of them. We do not offer support and are not responsible for supporting these products. Our support is limited to the samples themselves. All support with respect to the Kontakt Player must be directed to Native Instruments. The user agrees to read the manual before seeking tech support. The RECOMMENDED REQUIREMENTS for Kontakt Player & Sound Library is 2.8 GB of free hard disk space, DVD Drive, Windows XP (Pentium 4 /Athlon 2 GHz or better is recommended), Mac OS X or higher and a G5 is recommended. The Mod Wheel on your keyboard controls volume so make sure to move it up to an audible level. If you do not have a Mod Wheel, then the ability to assign the controller within your notation program or sequencer or to an external controller is required. To play the entire orchestra, we recommend a minimum of 1 GB of RAM. Your system must meet or exceeds these requirements. Please also observe the system requirements of your host application.
Important Note: The Kontakt audio engine is designed to make use of the processing power of your computers CPU. The powerful and complex algorithms of the Kontakt Player work best on newer CPUs. Please also observe the systems requirements of your host application, notation program and/or sequencing program if applicable.
Installation Instructions
To install the Garritan Jazz & Big Band library and the Kontakt Player: 1. Check that your computer meets the minimum requirements to run Kontakt Player. Quit all applications. 2. Insert the DVD into the drive. 3. Use the Windows Explorer (PC) or Apple Finder (Mac) to open the installation DVD if it does not open automatically. 4. Start the Installation Program by double clicking Setup.exe (Windows) or the Kontakt Player OSX Install icon (Mac). Follow the instructions on the screen to guide you through the installation procedure. When you run the Kontakt Player installer, you can select which components you would like to install:
PC Install
Mac Install
It may be easiest to install all listed components; if asked for a destination location, you can use the default location provided. Make sure you always install the Garritan Jazz and Big Band Standalone Application and the Garritan Jazz and Big Band Library. Install the VST, Audio Units, DXi and RTAS options if you use those particular plug-in formats. The VST plug-in will be required if you will use the Garritan Studio application. An important part of the Garritan Jazz and Big Band Kontakt Player installation is the Product Authorization, which has to be completed in order to make permanent use of the software.
Software Authorization
The Product Authorization provides a full registration and entitles you to make full use of the Garritan Jazz and Big Band library and all related services. On the Garritan and NI Kontakt websites, you can get the latest updates to the Player and library, access tutorials, obtain technical support, get special upgrade pricing, and participate in the Garritan and Kontakt forums and more. You get two installations with each Garritan Jazz and Big Band library. Therefore you can use Garritan Jazz and Big Band on both a laptop and a desktop, or on two separate computers. Once you install Garritan Jazz and Big Band you can run it for 30 days unauthorized without any limitations. Using it unauthorized, a reminder message will let you know the authorization has not been completed yet and will indicate the remaining days the software can run without an authorization. The Product Authorization is done with a small application called the Registration Tool. The Registration Tool will automatically register you over the internet, or you can authorize/register the Kontakt Player by mail or by fax. This Registration Tool generates a System ID based on some hardware and OS components of your computer. This System ID serves as a request code for receiving an Authorization Key.
Note: Merely changing your audio card, MIDI interface or external gear will not require a new Authorization Key. But replacing hardware components in your computer or installing a new operating system might require a new Product Authorization. In this case the Registration Tool will reflect the change by displaying a new System ID, and you will have to repeat the Product Authorization.
Garritan JAZZ & BIG BAND Users Guide A System ID has to be sent to Native Instruments for you to receive an Authorization Key. The Kontakt Player will stop launching after 30 days if it is not authorized. It will still be possible to complete the Product Authorization after the 30 days and then the software will launch again.
Once connected to the internet, the first registration page asks for a valid email address. If the email address you enter is already known by the registration system, the next page will ask you for the password, which you got from an earlier product registration. If the email address is new to the system, a new registration process will begin. Please follow the instructions to complete the registration. To register by email, fax or mail: Click on the Fill Out Form button, which opens a local HTML registration file in the operating systems standard browser or another program that you have defined as a standard application for opening HTML files. The HTML registration file contains all information Native Instruments requires for completing the Product Authorization and registration. Please fill in the required data and print it out, or write a letter containing the data. If you write a letter please use legible handwriting to avoid errors. Illegible email or postal addresses can cause problems with Authorization. Send the form to Native Instruments using one of the following:
Native Instruments Registration Schlesische Strae 28 10997 Berlin, Germany USA Fax: +49 30 61103535 372-3676 Native Instruments USA 5631A Hollywood Blvd Los Angeles, CA 90028, Fax: +1-323-
Step 2: Receive your Authorization Key from Native Instruments and Complete the Registration:
1. After sending the required information, you will soon receive an Authorization Key from Native Instruments. If you registered by email, the Authorization key is available in the email body and also as a text attachment. This email also contains a password, which is required for using the online services. If you registered by fax, email or mail, you will receive an Authorization Key either by email (recommended), postal mail or fax. Once you receive your Authorization Key, start the Registration Tool again. Copy the Authorization Key from the email and press the Paste from Clipboard button in the Registration Tool, or use the Open File button in the Registration Tool to open the email attachment, which you previously have saved to hard disk. If your internet connection is on another computer, transfer the text attachment to the computer where you have installed Garritan Jazz & Big Band. Click on the Complete button.
2.
3.
If you run into problems during the Product Authorization, the Native Instruments registration support team will be happy to help you. Please note that Native Instruments handles ALL registration and authorization matters. The fastest and easiest way to get support is to go the Support pages at www.native-instruments.com. There are also telephone numbers for Native Instruments on their website. You can also write an email to register@native-instruments.com and describe the problem as accurately as possible. Native Instruments has good registration support and usually a return time of one day or less during business days. After installation is complete, you have full use of the Garritan Jazz and Big Band library.
Soundcard Tab
Interface: All of the supported (and installed) audio interfaces are available in this drop-down list. Select the desired audio driver (MME, DirectSound, ASIO, SoundManager, Core Audio) from the list Sample Rate: Depending on the sound card and driver you are using, various sample rates are available. Set the desired sample rate here. Output Device: Here you can define which of the installed audio interfaces should be used for the audio outputs based on the driver selected under Interface. Input Device: Here you can define which of the installed audio interfaces should be used for the audio inputs based on the driver selected under Interface. Note: The input device will generally not affect Garritan Jazz & Big Band, and with some interface types (e.g. ASIO or Core Audio), the Input Device setting is not available. Instead you can set the inputs for the chosen driver on the Routing tab. Output Latency: This box displays the output latency. With some drivers you also get a latency slider for setting an individual latency for KONTAKT PLAYER. If you experience clicking or crackles, you should increase the latency.
Routing tab Audio & MIDI tab
In the Routing tab, if you are using a multi-channel sound card, KONTAKT PLAYER also allows you to freely select which channels to use for the output signals. In the MIDI tab, the two boxes (MIDI inputs and MIDI outputs) display all of the MIDI inputs and outputs that are correctly installed on your system. Click in the right column to on or off to activate or deactivate the corresponding MIDI input or output. From this point on, KONTAKT PLAYER sends and receives MIDI on these activated inputs and outputs.
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VST
The VST plug-in stands for Virtual Studio and was developed by Steinberg, the makers of the Cubase family of audio programs. It is also used by Cakewalk Sonar, Magix Samplitude, Nuendo, FL Studio and other sequencers. DirectX instruments (DXi) is Microsoft's multimedia plug-in standard for Windows XP. DirectX plug-ins work only with Windows on a PC. It is currently used by Cakewalk Sonar, FL Studio, and Sony Vegas The Audio Units (AU) plug-in standard was developed by Apple Inc. for Core Audio under Mac OS X. Audio Units is becoming the preferred plug-in format on Mac OSX and is used by Emagic Logic Audio under OS X. It is also used by Digital Performer 4.11+ RTAS plug-ins (which is short for Real Time Audio Suite) are designed to work in the Digidesign Pro Tools environment. Pro Tools hardware and software are used extensively in the pro audio and post production communities.
DirectX (DXi)
Audio Units
RTAS
Garritan JAZZ & BIG BAND Users Guide Garritan Jazz and Big Band sounds directly from within certain notation programs. Programs such as MakeMusic FINALE 2006 and Geniesoft OVERTURE 4 will now allow you to host and integrate Garritan Jazz and Big Band directly in the application. You can also play from the score of your notation program using Garritan Studio. Garritan Studio is a VST Host application designed to allow you to play Garritan Jazz and Big Band instruments from a notation program. You can use nearly any notation program that supports MIDI including Finale, Sibelius, Overture, MidiNotate, Encore and other notation programs. There are many resources on how to use Garritan libraries with various notation programs on the www.garritan.com website including tutorials, notation files, tips, techniques, plug-ins, special programming, tips, troubleshooting advice, informative links and the latest version of Garritan Studio.
What is Jazz?
Ask 100 people What is jazz? and you'll probably get 100 different answers. Part of the reason is because jazz is not predictable like classical music where players must play what is on the printed page without much artistic license. Jazz is a living art form, always changing and evolving, and never the same. The essence of Jazz is improvisation. In most jazz performances, players interpret and communicate music in their own unique way and express their own individual voices. The players typically play solos they make up on the spot. This makes jazz a very expressive musical form, capable of musically communicating the thoughts and feelings of the players. Whether it is sorrow or joy, no music so eloquently gives voice to an individual. Jazz music is player oriented where basic guidelines are established and the players are free to individually or collectively improvise. Usually, the same piece can not be played again in the exact same manner as it can in classical music. Jazz can take a familiar tune and make it fresh each time it is played. "Never play a thing the same way twice." remarked Louis Armstrong. Although improvisational in nature, jazz requires considerable skill. The simplicity will fool you. It is in the act of spontaneous creation where we truly find Jazz, and the listener plays an important role and experiences what is being expressed. There is a personal connection with the musing that is unlike other forms of music. Jazz invites the listener into a relationship with the players. The inspired motif at a particular instant may be in response to audience involvement as the player communicates. So, again, what is jazz? Someone once asked this question to legendary great jazz musician, "Fats" Waller and his response was:
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Garritan JAZZ & BIG BAND Users Guide cymbals, high hat cymbals, snare drums, tom toms, pedal operated bass drums, mallets, sticks, and wire brushes, to create interesting and changing drum parts. The inclusion of a rhythm section (piano/guitar, bass, and drums) continuo part in most jazz ensembles is a part of the tradition that is particularly useful in a kind of music which often depends on a repeated series of chords to set a controlling background texture against which a varied foreground can be successfully designed. That foreground may consist of an improvisation played by an individual instrumentalist, a singer, or a combination of instruments in a written passage. The rhythm section instruments have a wonderful effect on the music, but its also useful to leave them out in some passages for contrast and for the dramatic propulsive effect of their re-entry. The history of the organization of these instrumental sounds into efficacious combinations is full of change and development, from early New Orleans style polyphonic ensembles, to the modern wind ensemble sounds of Gil Evans music. There is a world of idiomatic history just in the study of rhythm section combinations and balances, and another encyclopedias worth of tradition in the way Fletcher Henderson, Count Basie, Duke Ellington, and Billy Strayhorn organized the reed and brass sections. The history of jazz instruments is full of unique and personal ways of making individual instrumental sounds and equally unique and creative ways of combining them. There is a rich pallet of sounds available to those jazz composers/arrangers lucky enough to have access to good musicians to perform their work. For those for whom this access is unavailable, there are sample sounds to use as audio sketches to check basic timbres and balances as they experiment and create new music. The Garritan Jazz and Big Band library is intended to serve this purpose. Getting started using the sounds in the Garritan Jazz and Big Band will be intuitive enough for jazz arrangers who have had experience with live musicians. For those whose experience is more limited, here is some basic jazz arranging information: All the saxophones have the same written range, from B flat below middle C, to F, 2 1/2 octaves above. This transposing trick allows a saxophone player to switch instruments without the necessity of learning new fingering, and it makes an understanding of the range and registers clear simply by observing the position of the notes on the staff system. It is helpful to understand that the saxophone was invented for volume, and it is not an easy instrument to play softly. The lowest two or three notes on the soprano, alto and tenor tend towards a rough and honking quality that is not easy to control, while the baritone is a little easier in this respect. The high range of the baritone, somewhat underused in the standard repertoire, can have a stentorian, singing quality that makes an effective solo voice and, incidentally, blends well with the French Horn. When combining saxophones in unison with brass instruments, the most effective combinations occur when the timbres are recognizably different. Combining a baritone Sax with a Trombone is more interesting than using a tenor sax with it. Trumpet and trombone ranges are roughly similar, though separated by an octave. The trumpet range starts on E below middle C (written F#) and extends comfortably 2 1/2 octaves to a high B flat (written C above the staff). This range is accessible to most student trumpet players. Expert lead players can extend that range up to a 5th higher while high note specialists soar another octave or more above that. The trombone has a similar range, starting on E below the bass clef staff and reaching the high B flat a 7th above middle C.
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Garritan JAZZ & BIG BAND Users Guide Many trombone players are quite comfortable extending that range upwards by a 3rd, and lead players go even higher on occasion. There are also useful pedal notes available below the usual bottom of the range. Tenor trombones cannot play any of the notes between the low E and the pedal B flat (a diminished 5th lower), but the pedal notes can be effective, especially in a three or four part unison. (B flat, A, and A flat are all available, but the tradition is to make special use of the B flat.) Bass trombones (with extra tubing brought into play with trigger valves) can play all the chromatic notes down to the pedal notes and then extend the range down to an F below that. The most useful guitar range is written from E below the treble clef to G, 3 octaves above middle C (sounding an octave below the written range). Most guitars have fret boards that extend a 4th above that G, but that range becomes a little thin sounding because of the short length of the vibrating string. When writing for the guitar in unison with other instruments, it is often good to keep the guitar range within the staff. For instance, having the guitar part in a written unison with a piano line puts the sounding guitar an octave below the piano, but the effect is that the sounds blend well, sometimes better than writing the guitar an octave higher, resulting in a real unison. Basses go from a written low E (below the bass clef staff) to G above the staff for normal bass lines (sounding an octave lower) with another octave available for solo passages. When it is necessary to have bass notes sound in sustained passages with wind instruments, the results are better when those notes appear in the lower winds. Overdoing the volume of the string bass, or using an electric bass to balance the harmony in the winds may overpower the ears ability to hear the mixtures of notes and harmonies in the middle and upper parts of the musics range. To my way of hearing things, this is the biggest and most common error in the use of the many technological advances that allow musical instruments to play louder. The electric bass guitar (or amplified string bass) is a fine choice for music largely devoid of dynamic and textural nuance, and there is some fine music in that category, but may not be appropriate for even the loudest music that Basie or Ellington ever played. It is helpful to remember that all instruments have the effect of sounding low at the bottom of their ranges, and high at the top of their ranges, so that middle C on the flute sounds deep and low, while the same note on the baritone saxophone or trombone sounds quite high, and it sounds very high on the bass. This is only a quick overview of whats available to the user of this sample library. There are many fine arranging and orchestration books available where one can find information about the traditions of writing for jazz instruments, range charts for these and other instruments, and examples of classic scores. A good source of arranging knowledge is the collection of Ellington scores published by Jazz @ Lincoln Center. Chuck Israels, Bellingham, WA
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Kinds of Jazz
Jazz provides many musical opportunities for creative expression in a variety of styles. Although there is no set form of jazz ,there are many subcategories within the various styles. Below are some of the most common styles of jazz. This is not a comprehensive list, it just scratches the surface:
Dixieland: Louis Armstrong, Original Dixieland Jazz Band, Jelly Roll Morton, Earl Hines, Sidney Bechet, Johnny Dodds, Bix Beiderbeck and Kid Ory Big Band/Swing: Count Basie, Nat King Cole, Benny Goodman, Billie Holiday, Duke Ellington Bebop: Charlie Parker, Dizzy Gillespie, Thelonious Monk Cool jazz: Miles Davis, Dave Brubeck Free jazz: Ornette Coleman, Cecil Taylor, John Coltrane (Ascension album) Jazz-Rock Fusion jazz: Miles Davis, John McLaughlin, Herbie Hancock Modern Jazz (contemporary and avant-jazz: Wynton Marsalis, Pat Metheny, Joe Lovano, Joshua Redman, and Don Byron Latin Jazz: Afro-Cuban and Brazilian.
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2 Note Velocity
Controls Attacks and Accentuation 4 Key Switching Change brass mutes and some articulations In Real-Time
IMPORTANT! Make sure you always move the Mod Wheel up in order to hear volume. Record a nudge of the Mod Wheel at the beginning of every MIDI sequence in order to start with the correct initial volume.
Note: cc = continuous controller usually followed by the controllers number (e.g. cc64.)
The Basic Real-Time Control System: Use your right hand to control the notes you play and note accents; Mod Wheel to control dynamics and expression; and the sustain pedal to switch between tonguing and slurring for horns or standard sustain for instruments like piano. In addition to these four basic controls, Garritan Jazz and Big Band has many advanced controllers for things like Automatic Variability, Vibrato, Portamento, note length, air flow noise, keyclicks, tone quality, flutter tongue/growl, falloffs, doits, and other features. With this approach many playing techniques can be handled in real time in much the same manner as a real wind player.
Shaping Dynamics & Playing Expressively One of the things that make an ensemble sound great is the wide range of dynamic contrasts. Every phrase and the notes themselves have unwritten dynamics that the player interprets. Without dynamics, music would lack nuance and depth of expression. The Mod Wheel controls volume (plus volume-related changes in timbre) and provides dynamic and expressive control. You need to use the Mod Wheel to get the most out of Garritan Jazz and Big Band. The Mod Wheel is a controller normally mounted at the left side of the keyboard and played with the left hand. With Garritan Jazz and Big Band, the Mod Wheel simultaneously
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controls both Volume (ppp to fff) and Timbre (brightness or EQ) for all nonpercussive instruments. Especially with the brass instruments, louder levels produce a brighter sound.
Get to Know Your Mod Wheel! If you dont hear any sound when you load Garritan Jazz and Big Band, dont worry. By default the volume is at its lowest level and you must move it up for the instruments to be audible. The Mod Wheel controls dynamics and volume. Make sure you always move the Mod Wheel up in order to hear the instrument. Think of it as having to start the air flowing and the reed or lips buzzing in the instrument before you hear a sound. In the case of a sequencer, make sure to record a nudge of the Mod Wheel at the beginning of every MIDI track so that the instruments will start with the correct initial volume upon playback. Remember that the mod wheel is NOT a set and forget controller. It is intended to be used as an expressive controller that is in nearly constant motion shaping the volume and timbre of a passage.
You will discover that using the Mod Wheel Control adds a new dimension of feeling and expression to your performances, making them all the more believable. Try experimenting with the Mod Wheel to develop control over the dynamics. As you play a melody, attempt a gradual crescendo or decrescendo, instead of going suddenly from soft to loud or loud to soft.
As shown above, Mod Wheel Control allows you to simulate a surging crescendo/diminuendo Exercise: Play a melody with your right hand only and notice how there is little variation at all. It doesn't sing as it should. Now imagine how you would sing the tune. Where is the peak of the phrase? Where would you make a crescendo and a diminuendo? Now, as you play the melody, attempt those crescendos or decrescendos with the Mod Wheel. Listen to the effect as you make gradual changes, adjusting the dynamics to suit your musical sensibilities. Note: The Mod Wheel is controlled with cc1 and can be reassigned in your sequencer to a wind (cc2) or other controller.
2. Note Velocity
Attack and Accentuation Virtually all keyboards made today support a feature called "Note Velocity which refers to how fast (or hard) you press a given key. With Jazz and Big Band, the harder you press down a key, the harder and sharper the attack; the softer you hit the key, the gentler the attack. Hitting a note even harder will give the tone that extra punch. Applying proper accentuation brings clarity and emphasis to the notes being played. It can also shape the rhythm and flow of a piece of music. There are many types of accents: strong accents, normal accents, staccato accents, to name a few. The degree of force you apply to the keys will vary depending on the instrument
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selected and the musical context. With brass and winds, accents are made by tonguing to emphasize certain notes. Whenever you feel that a note should be accented, do it by striking the key harder. Keep in mind that this only works when the sustain pedal is up. This is the position for tongued notes. It is important to note that this control relates to attack strength (for the most part) independent of volume. Many instruments in Garritan Jazz and Big Band (brass and winds especially) have volume controlled by the Mod Wheel. So, dont always try to play notes louder by banging on the keyboard, or the result may be a heavily accented note that you did not intend. Percussive instruments (including the piano and bass pizzicato) do use note velocity for volume and volume-related timbre changes, in addition to attacks, and the Mod Wheel wont do anything for those instruments.
Control of Tongue and Slur Articulations In wind instruments the tongue is used to release the air flow that energizes the vibration of the reed or lips. One of the things that makes a Jazz phrase sound idiomatically correct is the distribution of tongued and slurred notes. In Jazz and Big Band the sustain pedal is given the switching function between tongued and slurred notes. The default position (sustain pedal up) gives tongued notes. Depressing the sustain pedal, while the user plays with deliberate note overlaps, creates slurred transitions between notes by smoothing those transitions. Recording sustain pedal data at the proper locations in your tracks can result in much more realistic simulations of tongue/slur articulations. Remember, the pedal up tongued notes use velocity to control the strength of the attack. Recording shorter note values can create more detached tongued notes. The slur is achieved by holding the sustain pedal down for the desired group of notes while making sure there are no gaps between the slurred notes. Whenever the sustain pedal is depressed, the attack portion of the sample is removed to create much smoother transitions between notes. To get an idea of what the slur function does, consider the following illustration. This is how waveforms of a musical phrase look when played on a typical sampler:
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Notice how disconnected the notes are. Using the Sustain Pedal removes the attack portion of the sample and connects the notes for smoother sounding effect. The result is a phrase that more closely emulates the sound of the slur.
Note: The Kontakt Player defaults automatically to the second pedal mode No Sustain/Sostenuto Operation, but MIDI controller in the Kontakt Player which is the correct mode for the horns. To play standard sustain instruments, such as the piano, Normal Sustain/Sostenuto Operation must be selected under Options/General (under the Load button). To return to legato mode, the Sustain/Sostenuto Pedal Mode has to be returned to the second choice on the pedal mode list. All Kontakt Player instances must be set to the same configuration. You cannot assign piano to one instance with normal pedaling while simultaneously assigning other instances to separate legato functioning. This is a limitation of the present version of the Kontakt Player and some workarounds are posted in the support section of the www.garritan.com website. Or, you can choose to use the Notation version of the library which uses only pedal mode 1 for all instruments and moves the sustain pedal function to cc68.
Pitch Bend Wheel: This control can be used to bend the pitch of a note at its start or while it is sustaining. It is especially useful for trombone and guitar. For wind instruments the pitchbend range is limited to +/-2 semitones to give the user subtle control over scoops, bends, and other important effects, while avoiding such artifacts as formant displacement. Note that the Notation folder instruments have a consistent pitchbend range of +/-12 semitones for compatibility with various notation software. Pitch Bend Defeat: cc19 can be used to turn off pitch bend so that bend data can be applied to only one of two overlapping notes, if desired. Portamento Control: This control is related to Pitch bend above and will allow you to slide from note to note. This is particularly helpful with some instruments, such as the trombone. There is a knob that adjusts the portamento for instruments that use this function. Portamento (cc20) can be assigned to an external MIDI fader or drawn as graphic data in the users sequencer of choice. Its default setting is off. In general, slides between smaller intervals require greater values than slides between larger intervals. It is best to draw the data manually (for any specific notes that require slides) in your sequencer or to assign this feature to a separate hardware controller (cc20) for real-time control. You can also add varying amounts of portamento for smooth portamento effects (play two notes in a row and one will glide into the other). Vibrato Control: There are two controllers that affect vibrato. Aftertouch controls the intensity of the vibrato from no vibrato (Aftertouch = value of 0) to exaggerated vibrato (Aftertouch = high number value.) Because both components of the vibrato are independently controllable the user can apply vibrato in a much more flexible and realistic fashion. The speed of the vibrato is controlled using cc17. Note that some keyboards, like those from M-Audio, have no Aftertouch function but can assign cc131 to a programmable slider which, in turn, will send Aftertouch data out to your computer.
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Air Flow Noise: cc12 controls the sound of the air column moving through the instrument. This can be used for many things, from creating a breathy sound to subtly adding a little grit to the tone when used in small amounts. This sound is tied to the amplitude portion of the Vibrato control so that the air flow will pulsate in synchronization with the speed of the Vibrato. The default setting is off. Key Click/Valve Noise: cc13 controls the level of the noise produced by the key or valve mechanism of the wind instrument. Hint: A little of this goes a long way. Use it mostly for subtle enhancement of exposed solo work. These types of noises are rarely heard in section work where they are masked by other things. The default setting is off. Flutter Tongue/Growl sound: cc18 controls the level of the flutter tongue or growl effect. The default setting is off. Length Control: The default length is the natural length of the sample. As you adjust controller cc21, the length of the sample can be varied over a useful range (mostly shortened.) This can be used along with MIDI note length data and velocity strength to give a wider variety of articulation types ranging from very short and light to accented and forceful. Automatic Variability Control: These controls automatically introduce variability from note to note. There are two knobs in the Player for instruments that use this feature. One knob controls changes in intonation and the other controls changes in timbre. The VAR 1 knob that controls intonation (cc22) will introduce random tuning variations from note to note. In other words, each time a note is played it will be slightly detuned. The knob can make it unnoticeable to very noticeable. The other knob for VAR 2 (cc23) introduces random variations in timbre (EQ). The combination of both these variables randomly varying notes will provide a more human and less mechanical result. See the chapter on Kontakt Player Operation for additional information on this feature. Tone Quality control: cc26 controls the basic warmth of the tone quality. It is set by default to a useful value but cc27 allows the user to modify the center frequency of this EQ function, if desired. Be careful not to modify the center frequency while a note is being sustained or you may get unnatural sweep artifacts. It is best set to a value for an entire track or modified to a fixed value between notes to affect all following notes. Breath noises: All wind instruments have samples of the player taking a breath, which can be inserted at phrase breaks in your tracks to add another touch of realism. There are a variety of breath types mapped to the top two octaves of the keyboard. They include quick catch breaths and more leisurely slow breaths to be applied to different situations. Mono Mode in Horns: All horns are programmed to be monophonic-only instruments. They only play one note at a time, as with real horns being played with normal techniques. Limiting the polyphony to a single voice makes the creation of convincing solo parts much easier, as it eliminates the possibility of accidental note overlaps. In fact, the tongue/slur programming would not work properly without this.
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Keyswitch Tips
Always put the keyswitching note for the particular instrument *before* the first note of the articulation you want to play, not on the same time! Remember that when you hit "play" on the sequencer, the Jazz and Big Band library will play the last keyswitch you used. When using a keyswitched instrument, make sure you begin each track with a keyswitch note, even if you wish to use the default keyswitch If you transpose your score, you must be sure NOT to transpose the KS notes!! Any transposition to these notes will change (or eliminate) their function.
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Shakes: A hidden layer in the sustain pedal data (cc64, values 49-95) can be used to switch to a special layer designed to aid in playing or constructing convincing shakes (lip trills.) Real shakes can be played in a variety of ways with differences in the speed of the lip trill and the width of the interval of the lip trill. We didnt want to limit the user to static recordings of shakes that would always result in the shakes of the same speed and interval for all situations. Instead, a special, switchable layer has been added that gives the user control over many of the characteristics of a shake so that they can be uniquely tailored to do what the user needs. This approach also has the advantage of looking to the future of scripting where programming will eventually add considerable ease of use for this feature. For now, the user must do the shake construction manually with the supplied controls. The controllers that have been specially tailored for shakes are: velocity = attack strength; c28 = attack speed; cc20 = Portamento. A detailed explanation of how to use this feature will be included in a tutorial on the www.garritan.com site. Plunger Mute: There are two instruments in the library (one trumpet and one trombone) that use filtering to simulate plunger mute effects. cc16 controls the open/close action of the mute. This is another feature where a detailed explanation will be supplied in the Users Guide.
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Additional controllers for the upright acoustic basses: Sustain pedal = Switches to the open strings for certain notes(pedal mode 2) Special mapping: C5-E5 = finger slide noises can be inserted using notes beyond the upper range of the instrument. Additional controllers for the arco upright bass: Mod wheel = Volume/timbre Velocity = Attack strength Sustain pedal = legato (pedal mode 2) cc19 = Pitchbend defeat Key switches: C-1 = Arco
D-1 = Automatically alternating up and down bows G-1 = Playable tremolos
Additional controller for the electric basses: C0 = standard plucks Key switches:
D0 = harmonics
Keyboards
Keyboard choices include a Steinway piano, a vintage electric piano, and an accordion. The Steinway Jazz Piano is included in two versions: A full version and a lite version for those who need to conserve memory. Both pianos have a brightness control to adjust the high frequency content of the instrument for adapting to different mixing situations. The pianos use the following controllers: Velocity = Volume/timbre Sustain pedal (cc64) = Sustain (pedal mode 1) cc20 = Brightness
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Garritan JAZZ & BIG BAND Users Guide The Vintage Electric Piano is one of the most popular suitcase-style instruments. The tremolo effect modulates between stereo speakers in the support base of the keyboard. It uses the following controllers: Velocity = Volume/timbre Sustain Pedal (cc64) = Sustain (pedal mode 1) Pitchbend range = +/-12 semitones cc22 = Tremolo level cc23= Tremolo speed cc26 = Midrange intensity cc28 = Brightness
Vibraphones
Vibraphones are available in both hard and soft mallet choices. Both use the following controllers: Velocity = Volume/timbre Sustain pedal (cc64) = Sustain (pedal mode 1) Pitchbend range = +/-12 semitones cc20 = Attack speed cc21 = Brightness cc22 = Tremolo intensity cc23 = Tremolo speed
Guitars
There are two guitars: acoustic and electric. The acoustic guitar is a 10 string model that is recorded in stereo. The electric guitar is recorded monaurally. Both guitars have been programmed with the future implementation of scripting in mind to create realistic strumming and other techniques. Controllers for guitar are as follows: Velocity = Volume/timbre Sustain Pedal (cc64) = Sustain (pedal mode 1) Pitchbend = +/-7 semitones Aftertouch = Vibrato intensity cc13 = Finger noise intensity cc17 = Vibrato speed cc20 = Portamento cc21 = Length cc22 = VAR 1 cc23 = VAR 2 Keyswitches: C0 = standard plucks D0 = harmonics Special mapping: C7-D#8 = slides, taps, slaps
Tip: The guitars (especially the electric guitar) can be used with amp, tube, distortion, and other audio plugins to greatly modify the basic sound of the instrument. These plugins are often included with sequencing software or are available separately from third party developers.
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Drums
The drums are recorded in place in true stereo using an ORTF microphone arrangement for all instruments except the bass drum. There are three distinctly different drum kits included, with specific purposes for each. There is the Classic Jazz kit which uses vintage single layer heads for the sound that is so closely associated with the great tradition of Jazz drummers; there is a Fusion kit that uses double layer heads for the tighter, drier sound that has become so popular in the last few decades; and there is a unique Brush drum kit (played with wire brushes) that will give the user the opportunity to do ballads and other brush grooves that were extremely difficult to accomplish with previous libraries. There are complete kits for convenient sketching and separate bass drum, snare, toms, hi hat, and cymbals for more detailed mixing treatment.
Note: The same Cymbal files are duplicated in each of the drum folders for user convenience. Keep in mind that all Cymbal files are nevertheless identical. The cymbal files contain a wide variety of cymbals choices for many possible uses. Note: The hi-hat is divided into closed, half open, open and foot closed samples. All of these are assigned to an exclusive group so that any sample in the group will be cut off by another sample in the group. For example, if you hit the open hi hat and then quickly hit the foot closed hi hat, the open hi hat will stop sounding as soon as the foot closed sample begins.
There are two General MIDI kits: One for Classic Jazz and one for Fusion. The layout follows the General MIDI specifications with one exception: The snare drum on MIDI note 40 is an acoustic, not an electric, snare. The two General MIDI kits have identical percussion samples, only the bass drum, snare, toms, and hi hat differ. Note: See appendix for detailed mapping information.
This is a special case. We think you will find the brush drum kit one of the most enjoyable instruments in the Jazz and Big Band library. It has some very intuitive and flexible features. Most of the previous attempts to sample brush drum kits have relied on recording the characteristic snare drum stirs at a variety of different tempi and left it up to the user to choose the particular recorded performance that most closely matched the desired tempo. Constructing a brush drum part was more like assembling an elaborate puzzle than playing music. The brush drum kit in Jazz and Big Band is completely different. The snare drum stirs are actually playable at any tempo and you will find playing the stirs easy and intuitive (not to mention FUN.) This kit contains two snare drums with stirs and hits, plus brush hits on toms, hi hats, and cymbals.
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Percussion:
A wide variety of percussion instruments are available in the library. Most use three separate types of hits (open, muff, and slap) so the user can build rhythmic patterns with the instruments characteristic sounds. Percussion instruments are mapped so that instruments within specified types can be combined without mapping conflicts using just two MIDI channels. All instruments in the Drum and Gourd categories can be combined on the same MIDI channel without mapping overlaps. All instruments in the Blocks, Bells, and Misc. categories can be combined into a second MIDI channel without mapping overlaps. See the chart in the appendix for details. Percussion instruments are loaded individually to give the user independent control over panning, levels, and other mixing decisions.
Note: Many of the percussion instruments use programming to introduce automatic random variations between hits. Each hit will sound somewhat different even if the velocity value is the same.
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Saxophones
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Trumpets
Trombones
Bass Trombone
Tuba
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Acoustic Bass
A bass player is necessary for a good jazz band and provides the rhythmic and harmonic foundation for the band. Jazz acoustic bass technique is very different from orchestral playing. The bass often plays legato especially in swing music where a bass line will "walk" in even, smoothly connected notes that follow the beat of the music. Playing large leaps with too much separation is often avoided. Bass players will either play written parts or construct bass lines from chord symbols.
Drum Kit The drummer in a jazz band establishes and maintains beat and tempo of the music. The drummer also establishes the form of the music (A-B-A, or A-A-B-A, etc) and provides the cues for the other players to follow. The hi-hat and ride cymbals are very important to the drummer in Jazz with the hi-hat often foot closed on beats 2 and 4 and the ride cymbal establishing a swing pattern.
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01 Brush Drum Kit 02 Brush Drum Kit Brush Cymbals Brush HiHat Brush Snare Drum 1 Brush Snare Drum 2 Brush Toms Sgl-layr-hd Bass Drum 03 Classic Jz Drum Kit 03 Classic Jz Drum Kit Lite 14inHiHat2 15inHiHat Cymbals Cymbals Lite Sgl-layr-hd Bass Drum Sgl-layr-hd Piccolo Snare Sgl-layr-hd Snare Sgl-layr-hd Toms 04 Fusion Drum Kit 04 Fusion Drum Kit Lite 14inHiHat1 Cymbals Cymbals Lite Dbl-layr-hd Bass Drum Dbl-layr-hd Piccolo Snare Dbl-layr-hd Snare Dbl-layr-hd Toms GM Classic Jazz Drum Kit GM Fusion Drum Kit
Description: Wire brushes, snare #1; combines bass drum, snare, toms, hi hats, and cymbals into a single instrument. Wire brushes, snare #2; combines bass drum, snare, toms, hi hats, and cymbals into a single instrument. Wire brush hits on the various cymbals in the brush kit. Wire brush hits on 15 high hat hits; A Zildjian on top and Paiste on bottom. Wire brush stirs and hits on a Yamaha 4x14 maple snare drum. Wire brush stirs and hits on a Gretsch 5x14 maple snare drum. Wire brush hits on Gretsch tom toms; 16 x 16 floor tom, 9 x 13 rack tom, 8 x 12 rack tom; Remo coated heads. Bass drum hits from the classic kit; 20 x 14 Gretsch with various heads. Single layer heads for snare, toms, and kick. Does not use General MIDI mapping on all notes. Uses less memory than the main Classic Jazz Kit. 14 high hat hits. 15 high hat hits; A Zildjian on top and Paiste on bottom. Selection of ride, crash, splash cymbals and some unusual additions like garbage can lids and saw blades. See Appendix B. Contains primary cymbal choices. Bass drum hits from the classic kit; 20 x 14 Gretsch with various heads. Smaller higher pitched snare hits. Hits on the classic jazz kit snare drum; Ludwig 5 x 14 snare with Remo Renaissance Diplomat head. Hits on the classic kit toms; 16 x 16 Gretsch floor tom, 9 x 13 Gretsch rack tom, 8 x 12 Gretsch rack tom, Remo coated heads. Double Layer heads for snare, toms, and kick. Does not use General MIDI mapping on all notes. Uses less memory than the main Fusion Drum Kit. 14 high hat hits; A Zildjian Newbeats. Selection of ride, crash, splash cymbals and some unusual additions like garbage can lids and saw blades. See Appendix B. Contains primary cymbal choices. Bass drum hits from the 14 x 22 Gretsch with various heads and pillow muffles. Smaller higher pitched snare hits. Hits on the Ludwig 5 x 14 snare with Remo pinstripe head. Hits on Gretsch fusion kit toms; 16 x 16 floor tom, 9 x 13 rack tom, 8 x 12 rack tom; Remo Pinstripe heads. General MIDI layout using Classic Jazz Kit sounds in the first octave and a half. General MIDI layout using Fusion Drum Kit sounds in the first octave and a half.
Controls: Vel (vol); Brsh; VAR 1; VAR 2 Vel (vol); Brsh; VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); Brsh; VAR 1; VAR 2 Vel (vol); Brsh; VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2 Vel (vol); VAR 1; VAR 2
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Bass Clarinet Bb Clarinet 1 Bb Clarinet 2 Bb Clarinet 3 Alto Flute Flute 1 Flute 2 Flute 3 Piccolo Alto Sax 1 Alto Sax 2 Alto Sax 3 Bari Sax 1 Bari Sax 2 Bass Sax 1 Bass Sax 2 C Melody Sax 1 C Melody Sax 2 Contrabass Sax 1
Description: The Bass Clarinet plays one octave lower than the conventional clarinet. Buffett R-13 wood clarinet; 1st Player. Buffett clarinet; 2nd Player. Buffett clarinet; 3rd Player. Armstrong Alto Flute, circa 1970 C Flute; made by Muramatsu. 1st Player. C Flute; 2nd Player. C Flute; 3rd Player. Yamaha ebony piccolo, circa 1970. Eb Alto saxophone; made by Buffet Eb Alto saxophone; made by Selmer, Balanced Action. Eb Alto saxophone; made by Selmer, Mark VI. Baritone saxophone; made by Bundy. Baritone saxophone; made by Bundy; different microphones than Bari Sax 1. BBb Bass Saxophone; made by Selmer. BBb Bass Saxophone; made by Selmer; different microphones than Bass Sax 1. C Melody saxophone; made by Buescher; different microphones than C Melody Sax 1. C Melody saxophone; made by Buescher. EEb Contrabass Saxophone; made by Orsi.
Controls: MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth
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Bass Tbone Open (no mute) Bass Tbone Straight Mute Bass Tbone Cup Mute Bass Tbone Harmon Mute Bass Tbone Bucket Mute Bass Tbone KS Bass Tbone Lite KS Tbone 1 Open (no mute) Tbone 1 Straight Mute Tbone 1 Cup Mute Tbone 1 Harmon Mute Tbone 1 Bucket Mute Tbone 1 KS Tbone 1 Lite KS Tbone 2 Open (no mute) Tbone 2 Straight Mute Tbone 2 Cup Mute Tbone 2 Harmon Mute Tbone 2 Bucket Mute Tbone 2 KS Tbone 2 Lite KS
Description: Conn Bass Trombone. Plays one octave lower than a conventional trombone. Bass Trombone played with the Straight mute. Bass Trombone played with the Cup mute. Bass Trombone played with the Harmon mute. Bass Trombone played with the Bucket mute. Keyswitched combination of open and all mutes. Keyswitched combination that uses less memory than main KS instrument. Trombone; made by Holton. Trombone 1 played with the Straight mute. Trombone 1 played with the Cup mute. Trombone 1 played with the Harmon mute. Trombone 1 played with the Bucket mute. Keyswitched combination of open and all mutes. Uses less memory than main KS instrument. Trombone; made by Holton. Trombone 2 played with the Straight mute. Trombone 2 played with the Cup mute. Trombone 2 played with the Harmon mute. Trombone 2 played with the Bucket mute. Keyswitched combination of open and all mutes. Uses less memory than main KS instrument.
Controls: MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk; KS MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk; KS MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk; KS MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk; KS MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk; KS MW; Vel; Tng/Slr; AF; KC; Vib; Fltr/Grl; PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk; KS
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MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl; PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl; PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl; PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl; PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl; PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl; PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk; KS MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl; PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk; KS
MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl; PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl; PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl; PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl; PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl; PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl; PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk; KS MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl; PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk; KS
MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl; PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl; PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl; PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl; PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl; PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl; PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk; KS MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl; PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk; KS
MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl; PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl; PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl; PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl; PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl; PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl; PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk; KS MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl; PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk; KS
MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl; PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth MW; Vel; Tng/Slr; AF; KC; RFX; Vib; Fltr/Grl; PBd; Port; Lgth; VAR 1; VAR 2; TQ; Brth; Sk
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Multis
The "Multis" folder contains preset combinations of instruments for the user's convenience. Various setups of sections and instrument groupings are provided including jazz trio; large big band;; etc (see table below for a complete list). Loading a Multi can give you a quick "head start" to setting up a group of instruments.
MULTIS
Multi name:
Accordion Trio Big Band Rhythm Section Fusion Quartet Jazz Piano Trio Lite Jazz Quintet Jazz Sextet Sax Section Trombone KS Section Trombone Lite KS Section Trumpet KS Section Trumpet Lite KS Section Vibraphone Quartet
Instruments Included: Upright Bass 1; Acoustic Guitar; Accordion 03 Classic Jazz Drum Kit Lite; Upright Bass 2; Steinway Jazz Piano Lite; Electric Guitar 04 Fusion Drum Kit Lite; Fretless Bass 1; Vintage Electric Piano; Tenor Sax 1 03 Classic Jazz Drum Kit Lite; Upright Bass 2; Steinway Jazz Piano Lite 03 Classic Jazz Drum Kit Lite; Upright Bass 2; Steinway Jazz Piano Lite; Tenor Sax 1; Flugelhorn 1 03 Classic Jazz Drum Kit Lite; Upright Bass 2; Steinway Jazz Piano Lite; Tenor Sax 1; Tpt 5 Open; Tbone 4 Open Alto Sax 1; Alto Sax 2; Tenor Sax 1; Tenor Sax 2; Bari Sax 1 Tbone 1 KS; Tbone 2 KS; Tbone 3 KS; Tbone 4 KS; Bass Tbone KS Tbone 1 Lite KS; Tbone 2 Lite KS; Tbone 3 Lite KS; Tbone 4 Lite KS; Bass Tbone Tpt 1 KS; Tpt 2 KS; Tpt 3 KS; Tpt 4 KS; Tpt 5 KS Tpt 1 Lite KS; Tpt 2 Lite KS; Tpt 3 Lite KS; Tpt 4 Lite KS; Tpt 5 Lite KS 03 Classic Jazz Drum Kit Lite; Upright Bass 1; Vibraphone Hard Mallet; Electric Guitar
Tip: If you have the full version of Kontakt you can construct your own Multis by loading one of the included Multis, modifying it and saving it as a Multi under a new name. You will also need to modify the text file for the newly created Multi to reflect any changes in included instruments.
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1. Virtual Rack
When you first start the Kontakt Player your will see a strip across the top where Instruments 1 through 8 are represented. Each of these eight boxes in the virtual rack can be selected in order to load an instrument or Multi (several instruments). Each Kontakt Player can load up to eight instruments or individual Multis at one time. The number of Kontakt Players you can load depends on your host application or sequencer and the power of your computer.
2. Instrument Header
The Instrument Header is where most of what you will be doing with Kontakt Player will take place. Here you can select system instrument information and adjust the instrument parameters. When you first start Kontakt Player, no instruments are loaded and Empty Instrument will appear in the header.
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Garritan JAZZ & BIG BAND Users Guide To load new Instruments, select an empty box in the virtual rack so that it becomes highlighted. Then press the large button labeled Load. A drop-down menu appears with all available instruments. Clicking on the desired instrument from the list loads it into the selected slot. The loaded instruments name will appear in the Instrument Header and in the instrument strip above. The up and down buttons that appear above the Load button allow the user to quickly scroll through the available instruments within an instrument group (i.e. winds, brass, keyboards, etc.) without loading them through the menu. There are various parameters in the Instrument Header:
Load: Drop-down menu of all available instruments to load. The load button has up and down arrows for choosing next and previous instruments from the list for rapid sequential loading. Name: Shows the name of the instrument currently loaded. Options: Clicking on this button opens the General Options dialog window where you can adjust additional settings.
o o o o
Sustain/Sostenuto Pedal Mode: Use this to set the behavior of any foot pedals. This is set by default to No Sustain/Sostenuto Operation, but MIDI controller. to engage the legato sustain feature for winds and brass instruments, To play sustain instruments, such as a piano, the first option Normal Sustain/Sostenuto Operation must be selected. All Kontakt Player instances must be set to the same configuration Master Tune: Adjust the overall tuning of Kontakt in cents. Auto-Convert Samples to 32-bit: Enable this to convert all loaded samples to high resolution 32-bit format. Display Mapping on Keyboard: Enable this to show the keymapping of each Instrument via colored keys. Lock Memory (No Swap): If you have sufficient RAM, disabling this will allow for quicker loading.
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4. Control Knobs
Most of the controls are operated with knobs. There are standard knob controls (Volume, Pan, and Tuning) for all instruments as well as additional controls that affect specific instruments. To change a knob value, click on it and drag up to move the knob clockwise, or drag down to move it counter-clockwise. Some knobs can be fine-tuned if you hold down your computer keyboards Shift key as you move the knob. Ctrl + Click (Mac: Cmd + Click) resets a knob to its default value. Some parameters allow changing the type of units displayed; click on the unit, and choose another type from the drop-down list that appears. It is recommended that you use a midi controller or sequencer to control the instrument specific controls. These standard controls can also be automated through a sequencer or midi controller if needed. The five knobs in Garritan Jazz and Big Band can be given default load values in the accompanying instrument text files. Initial values have been supplied by us but the user is free to modify these settings. The text files are located in the same folders as the instrument files. Each instrument has an identically named text file. In the text file the knob names are listed (in order) followed by the values for the knobs (in order.) Most users will never need to modify these values but they are available for advanced users who wish to make custom modifications.
Tip: VAR 1 and VAR 2 are best applied on a task-specific basis. Draw the controller data only at the locations where a problem needs to be solved. Often, this means applying the controller data in those areas where rapidly repeated notes have created the dreaded machine gun effect. Another excellent place to draw in VAR data is during rapid runs that result in a series of notes that are too perfect in intonation and timbre to be believable. Keep in mind that a musician will listen carefully to longer notes and make quick adjustments to correct intonation but that much faster notes of shorter duration go by too quickly for accurate adjustments to take place. As an example, a musician might play a half note followed by a rapidly ascending run of 32nd notes, ending on a whole note. The first and last notes will be very accurately brought into pitch by the player so no VAR 1 should be applied to those notes. The 32nd notes, on the other hand, should receive VAR 1 for random intonational variations and perhaps VAR 2 for some variation in timbre. One other tip: Make sure that the note timing is not too perfect as can happen when notes are either entered by mouse or in notation. Again, perfection does not sound human so try to avoid it.
Tip: For more advanced programming and customization the user may wish to upgrade to the full version of Kontakt. The full version is capable of reading and editing the programming of the Garritan Jazz & Big Band instruments. This will enable you to create your own custom programming. One caveat though: Each instrument in JABB has a corresponding text file. The Kontakt player in JABB reads these text files to set certain controllers to their default values when instruments are loaded. Unfortunately, the full version of Kontakt does not read these test files so it is necessary for the user to place default controller value data at the beginning of the instrument MIDI tracks. Without the entry of these values instruments will not load and function as intended.
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47
Getting Help
The first place to look for a solution to any problem you may be experiencing is this manual. Please read the manual before contacting support. Next, check the readme files which contain important information and all last minute changes that havent been available when printing this guide. Also, you may find an answer to your problem using the Kontakt Players on-screen help. You can access support by going to the Kontakt Player About screen, opened by clicking on the NI KONTAKT logo on the player. Choose the support tab of the About Screen to find a series of buttons directly leading you to the Native Instruments Online Knowledge Base and to the Online Support front-end. The front-end will ask you for all information about your hardware and software environment, to better assist you. In your description, you should include a description of the problem, the steps you have taken to try to remedy the problem, the specs of your computer, and a description of your software and hardware.
Important: For support & authorization for the Native Instruments KONTAKT Player, please contact: register@native-instruments.com or Native Instruments Tech Support at: (323) 467-2693 (US).
Garritan Jazz and Big Band is a dynamic library that is evolving and growing. Please check the support area of our website at www.garritan.com for the latest up-to-date information, troubleshooting, FAQs, helpful hints and tutorials. Another resource is the support forums. On the Forum tab of the About Screen is a button directly connecting you to the Garritan forum and the Native Instruments User Forums where you can discuss problems directly with other users and with experts from NI moderating the forum. Whenever you encounter problems, you should also check if you have installed the latest update. The version number of your software is displayed on the first page of the About dialog. Updates are released regularly to fix known problems and to improve the software. You can find a link to check for the latest update in the About dialog, in the Readme file or at www.native-instruments.com. Information and help are also available at the Garritan website. If you cant find a solution to your problem by any of the above methods, please email us at support@garritan.com. The best way to get the help you need is by giving us plenty of detailed information about the problem you are having. We do ask you to read this guide thoroughly and exhaust the other avenues of support before contacting us.
Regarding Third Party Customer Service: Please do not call Garritan Libraries for technical support regarding the Kontakt Player or any other third-party application or program. All Kontakt support issues are handled primarily by Native Instruments. Please contact the respective companies for support.
For the Latest For the very latest news, tutorials, MIDI files, tips and techniques, updates, FAQs, and more, please visit our website at www.garritan.com.
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Acknowledgements
Producing Garritan Jazz & Big Band would not have been possible without the combined help, talent and support of many extraordinary people. I am grateful to those who have contributed and would like to thank them all. This Jazz and Big Band library has been the vision of Tom Hopkins. Tom has played in jazz bands for over 35 years and this library has been one of his personal goals. Tom played brass for this library, recorded many of the instrumentalists, and programmed all of the instruments. Tom has transformed these samples into playable expressive instruments. I am extremely grateful for the musicians who have played for this collection. Thanks for enduring the relentless scales, sore fingers, numb lips and meticulous playing to produce these samples. Thanks the players: Chuck Israels (upright bass), Rich Cooper (trumpet), Jim Coile (saxophones and flutes), David Link (saxophones), Jay Easton (saxophones), Tracy Knoop (clarinet), Curt Berg (trombone), John Leys (bass trombone), Tom Hopkins (trumpet, flugelhorn, trombone), Ted Enderle (upright and electric basses), Denny Gore (electric piano), Alan Hashimoto (drums), Tom Bergersen (percussion), Karl Olson (vibes), Bruce Hamilton (additional percussion), Karl Garrett (acoustic guitar), Ged Brockie (electric guitar), John Bonica (accordion) and the other musicians who played in this collection. Thanks to Jeanott Welter for endless hours of tedious sample editing and looping. Thanks to Jim Bredouw for the use of his Steinway B piano for sampling. Many thanks to Chuck Isreals for his inspiration and consulting throughout the project. And special thanks to Gary Lindsay for his insightful advice. Thanks to Mark Simon and David Burnett, for hosting the Garritan Forums on Northern Sounds to exchange ideas and support one another. I would also like to thank Stephen Croes, Dean of Music Technology, and Kurt Biederwolf, Chair of the Music Synthesis Department at Berklee College of Music, and Gary Lindsay, Director of Studio/Jazz Writing at the University of Miami who were very helpful in discussing many of the problems facing music students which led to the development of this library as a creative solution for students. Thanks to Michael Sandberg and James Mireau for graphic design and James Mireau for the cover art. Thanks to Jeff Hurchalla, David Viens, Sebastien Beaulieu, and Vincent Trussart at Plogue for the development of Garritan Studio. And thanks to Darcy Argue, Jeff Beal and David Maddux. A special thanks to Daniel Haver, Martin Jann, Frank Etling, Julian Ringel and everyone at Native Instruments for developing the fantastic sample engine that powers Garritan Jazz & Big Band.
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10
MIDI Pan
All if chosen.
12 13 15 16 17 19
Air flow noise Key click/valve noise Note release effects Plunger mute control Vibrato Speed Control Pitchbend disable
Air flow noise is included with all woodwind and brass instruments. Key click noises are present in the woodwinds and valve noises are present in the trumpets and tuba. All trumpets. One trumpet and one trombone. Woodwinds, brass, bass, and guitar. All instruments expressive instruments that sustain.
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Portamento
All Expressive sustained instruments. Used during legato/slurred passages which require portamento. Adjustable attack speed controller on the vibraphone KS patch. Controls the length/release time of most instruments in JABB. Hard and soft mallet vibraphones On most wind, and some percussion instruments, this is used to introduce note-to-note variations in intonation. Used during repeated note passages to help prevent the machinegun effect.
Attack Speed Shown: ATTACK (vibraphone only) 21 Length Tone control Variability 1 (VAR 1)
22
Continuously adjustable attack speed controller. Adjustable from hard to bowed attacks. Defaults to hard attacks. Controls the length/decay/release time of the sample. Controls brightness on the vibraphone. Sets random variations in tuning from note to note.
23
Frequency Filtering Shown: FILTLV (organ) Tremolo Level Shown: TRMLEV (vibraphone) Variability 2 (VAR 2)
Controls filter strength.. Continuously variable tremolo control. Sets random variations in instrument timbre from note to note. Controls the tremolo level in vibraphone and vintage keys. To be used with cc23. On most wind, and some percussion instruments, this is used for timbre variations. Again, useful for repeated note passages to prevent the machinegun effect.
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GARRITAN JAZZ & BIG BAND USERS GUIDE Filter Center Frequency Shown: FILTFQ Filtering (organ) Tremolo Speed Shown: TRMSPD (vibraphone) Tone Control Tone Control center frequency High Frequency Control Attack control Tongue/slur (standard folders) Damping (percussion) Also used to control the center frequency for filtering. Continuously variable tremolo speed control. Intensity of EQ Chooses the part of the audio spectrum modified by the Tone Control Intensity of high frequencies Special attack control for the brass shake layer Controls legato on brass, winds, and damping on some percussion instruments. Also can be set to control standard sustain on piano. Controls the tremolo speed in vibraphone and vintage keys. To be used with cc22. Many wind instruments Many wind instruments Many wind instruments Trumpets and trombone When set to No Sustain/Sostenuto, but MIDI Controller will activate tongue/slur mode on all wind instruments. When mode is set to Normal Sustain/Sostenuto it functions with standard sustain pedal behavior on the piano. All wind instruments All wind instruments Brush snare drums. Controls the initial attack strength of all Expressive mod wheel controlled instruments in JABB. Note: For all Percussive (keyed, percussion, or non sustained patches) this controls volume/timbre. This controller is useful for instruments like trombone where note slides are common. This controller is used to create scoops or drops at the beginning or end of a note or passage. Can be used with trombone to simulate slide movements during sustained notes. Can be used along with cc19 to solve difficult portamento situations.
26 27 28
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Aftertouch
Tongue/Slur (Notation folder) Vibrato Intensity Control Brush stir direction change
Controls vibrato intensity for woodwind and brass instruments. Controls the direction change in brush pattern. Defines the rhythmic character of the stir. Controls note on velocity for all instruments in JABB.
Velocity
Velocity
Pitchbend
Pitchbend
Allows a notes pitch to be shifted in a controlled manner (usually to a maximum of two semitones up or down).
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MIDI note # 34 35 36 37
Note Name A# B C C#
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38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55
D D# E F F# G G# A A# B C C# D D# E F F# G
Snare 1 Hand Clap Snare 2 Low Floor Tom Closed Hi Hat High Floor Tom Pedal Hi Hat Low Tom Open Hi Hat Low-mid Tom High-mid Tom Crash Cymbal 1 High Tom Ride Cymbal 1 Chinese Cymbal Ride Bell Tambourine Splash Cymbal
Snare LH Snare RH Foot Closed Hi Hat Low Floor Tom Closed Hi Hat LH Closed Hi Hat RH Half Open Hi Hat Mid Tom Open Hi Hat Hi Hat Crash High Tom Crash Cymbal 1 Ride Cymbal 1 Ride Cymbal 2 Crash Cymbal 2 Ride Bell 1 Ride Bell 2 Ride Cymbal 3
Bass Drum 1 Bass Drum 2 Snare Stir (Aftertouch direction change) Snare LH Snare RH Foot Closed Hi Hat Low Tom Closed Hi Hat LH Closed Hi Hat RH Half Open Hi Hat Mid Tom Open Hi Hat High Tom Crash Cymbal Ride Cymbal 1 Ride Cymbal 2 Sizzle Cymbal Garbage Can Lid (wire brush) Garbage Can Lid (brush handle) Garbage Can Lid (blastik)
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56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77
G# A A# B C C# D D# E F F# G G# A A# B C C# D D# E F
Cowbell Crash Cymbal 2 Vibraslap Ride Cymbal 2 High Bongo Low Bongo Mute High Bongo Open High Bongo Low Conga High Timbale Low Timbale High Agogo Low Agogo Cabassa Maracas Short Whistle Long Whistle Short Guiro Long Guiro Claves High Wood Block Low Wood Block
Crash Cymbal 3 Sizzle Cymbal 1 Stagg Crash Cymbal 4 Cracked Ride Cymbal 3 China Cymbal Splash Cymbal Ride Cymbal 4 Crash Cymbal 5 Sizzle Cymbal 2 (wood tip) Sizzle Cymbal 2 (nylon tip) Sizzle Cymbal 2 (mallet) Sizzle Cymbal 2 (finger) Sizzle Cymbal 2 (wood tip BS) Cymbal Scrape 1 Cymbal Scrape 2 Cymbal Scrape 3 Cymbal Scrape 4 Cymbal Scrape 5 Garbage Can Lid (stick) Garbage Can Lid (mallet) Garbage Can Lid (hard mallet) Garbage Can Lid (rubber mallet)
78 79 80 81
F# G G# A
Garbage Can Lid (car keys) Garbage Can Lid (hand) Radial Saw Blade Chrome Saw Blade
Drums
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MIDI note # 36 37 38 39 40 41 42 43 44 45 46 47 48 49 Cabassa Short Cabassa Long Cabassa Snap Guira Short 1 Guira Short 2 Guira Long Guiro 1 Short 1 Guiro 1 Short 2 Guiro 1 Long Guiro 2 Short 1 Guiro 2 Short 2 Guiro 2 Long Maraccas 1 Short Maraccas 1 Long
Note Name C C# D D# E F F# G G# A A# B C C#
Bata Low Open Bata Low Muff Bata Low Slap Bata Mid Open Bata Mid Muff Bata Mid Slap Bata High Open Bata High Muff Bata High Slap Bongo Low Open Bongo Low Muff Bongo Low Slap Bongo High Open Bongo High Muff
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50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73
D D# E F F# G G# A A# B C C# D D# E F F# G G# A A# B C C#
Bongo High Slap Cajone Low Cajone Slap Cajone Stick Hit Conga Low Conga Open Conga Muff Conga Slap Cuica Low Cuica Mid Cuica High Djembe Open Djembe Muff Djembe Slap Pandero Open Pandero Muff Pandero Slap Quinto Open Quinto Muff Quinto Slap Super Tumba Low Super Tumba Open Super Tumba Muff Super Tumba Slap
Maraccas 2 Short Maraccas 2 Long Shaker Short 1 Shaker Short 2 Shaker Short 3 Shaker Medium Shaker Long Shekere Low Shekere High Shekere Short 1 Shekere Short 2 Clave Jam Block Low Jam Block High Wood Block Agogo Bell Low Open Agogo Bell Low Mute Agogo Bell High Open Agogo Bell High Mute Bongo Bell Low Open Bongo Bell Low Mute Bongo Bell High Open Bongo Bell High Mute Cha Cha Bell Open
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74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96
D D# E F F# G G# A A# B C C# D D# E F F# G G# A A# B C
Surdu Open Surdu Muff The Box Low The Box Mid The Box High Timbales Low Timbales High Timbales Edge Tumba Low Tumba Open Tumba Muff Tumba Slap Udu Long Udu Short
Cha Cha Bell Mute Timbale Bell Open Timbale Bell Mute Castinets Hand Claps Finger Snaps Jawbone Rainstick 1 Rainstick 2 Tambourine Short Tambourine Long Tambourine Hit Triangle 1 Open Triangle 1 Mute Triangle 2 Open Triangle 2 Mute Whistle 1 Short Whistle 1 Long Whistle 2 Short Whistle 2 Long Whistle 3 Short Whistle 3 Medium Whistle 3 Long