Sibelius Edition

User Guide

Garritan Personal Orchestra

Edition 1
November 2005

User Guide written by Daniel Spreadbury, with contributions by Gary Garritan,
Tom Hopkins, Reuben Mitchell and David Harvey.

Project Manager: Bill Marten
Producer: Gary Garritan
Director of Programming: Tom Hopkins
Director of Software Development: Jeff Hurchalla
Sibelius sound set programming: Reuben Mitchell and David Harvey

Please email any suggestions you have for improvements to this User Guide
to

docs@sibelius.com

Garritan Personal Orchestra Sibelius Edition User Guide copyright © Sibelius
Software Ltd. 2005.
Published by Sibelius Software Ltd., The Old Toy Factory, 20–22 City North, Font-
hill Road, London N4 3HF, UK

All rights reserved. This User Guide may not be reproduced, stored in a retrieval system or transmitted in
any form or by any means – electronic, recording, mechanical, photocopying or otherwise – in whole or
in part, without the prior written consent of the publisher. Although every care has been taken in the
preparation of this User Guide, neither the publisher nor the authors can take responsibility for any loss or
damage arising from any errors or omissions it may contain.

Sibelius, the Sibelius logo, Scorch, Flexi-time, Espressivo, Rubato, Rhythmic feel, Arrange, ManuScript,
Virtual Manuscript Paper, House Style, SoundStage, Opus, Inkpen2, Helsinki, magnetic, multicopy, Opti-
cal, Dynamic parts, the blue notes and double helix logos, SibeliusMusic.com, SibeliusEducation.com,
‘The fastest, smartest, easiest way to write music’ and ‘99% inspiration, 1% perspiration’ are all trade-
marks or registered trademarks of Sibelius Software Ltd. in the USA, UK and other countries. All other
trademarks are acknowledged as the property of their respective owners.

Garritan Personal Orchestra® is a registered trademark of Garritan Corp. Use of the Garritan Personal
Orchestra® library and the contents herein are subject to the terms and conditions of the license agree-
ment distributed with the library. You should carefully read the license agreement before using this prod-
uct. The sounds presented in Garritan Personal Orchestra® are protected by copyright and cannot be
distributed or copied, whether modified or unmodified. Kontakt™ is a trademark of Native Instruments
GmbH. Steinway™ is a trademark of Steinway & Sons and is used by permission. VST™ is a trademark of
Steinberg. The information contained herein may change without notice.

Contents

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Installation on Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Installation on Mac OS X . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Technical help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Getting started

Advanced use

Appendices 47

Appendix A: List of instruments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Appendix B: Percussion instrument mappings . . . . . . . . . . . . . . . . . 66
License Agreement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Garritan Personal Orchestra Sibelius Edition User Guide

Introduction

We have all cherished the sound of a symphony orchestra. Orchestral music is
everywhere around us – in the movies, on television, in interactive games, live
performances, radio and in public venues. It is hard to escape the power and influ-
ence that orchestral music has. What makes orchestral music so expressive and
vibrant is its wide variety of instruments.

Sometimes we might even wonder how it feels to conduct an orchestra or how our
music would sound in the hands of a capable orchestra. New computing and sam-
pling technology now makes this possible.

We have put together a package that will allow you to realize your creative poten-
tial. The following presents some of the outstanding features of Personal Orches-
tra:

A complete orchestra at your fingertips: Garritan Personal Orchestra is an afford-
able, easy-to-use and thoroughly comprehensive orchestral library. It includes
all the major instruments of the orchestra: strings, brass, woodwinds, percus-
sion and keyboards.

Highest-quality orchestral instruments: includes quality instruments such as a
Steinway™ piano, a Stradivarius violin, Guarneri and Gagliano Violins, Wurl-
itzer harp, Haynes flutes, Heckel bassoons and many other exquisite instru-
ments.

No sampler required: the entire orchestral library is integrated with the Native
Instruments Kontakt™ Player and works directly within Sibelius. No need to
purchase a separate sampler.

Notation integration: Sibelius can automatically realize great-sounding orches-
tral playback directly from the score.

Suited for everybody: professional film composers can use this collection for
quick orchestral sketches and capturing creative ideas. Hobbyists can use it for
adding orchestrations to their tracks. Educators and students can use it for
scoring projects or studying orchestration.

Garritan Personal Orchestra is a dynamic library with a very active community.
Please check

www.garritan.com

www.sibelius.com

for the latest up-to-date

information, FAQs, troubleshooting, helpful hints and tutorials.

Installation on Windows

Installation on Windows

System requirements

Requires 2GB hard disk space (in addition to Sibelius 4); Windows XP (or some
Windows 2000 configurations); DVD drive; Sibelius 4.1 or later. Additionally:

Scores that use up to about 8 different sounds: 1.8GHz processor or faster, 1GB+
RAM (1.5GB+ recommended), preferably ASIO-compatible sound card.

Scores that use up to about 20 different sounds: 2.5GHz processor or faster,
1.5GB RAM. ASIO-compatible sound card strongly recommended (not sound
chip on motherboard), preferably separate graphics card.

Scores that use reverb or more than 20 different sounds will need a faster proces-
sor and more RAM.

Before you install

Before you install GPO Sibelius Edition, you should ensure you have already
installed Kontakt Player Silver (and Kontakt Gold, if you have it), and have
installed the latest updates from your Sibelius 4 CD-ROM.

You should also ensure that you are running Sibelius 4.1 or later (check the version
number in

Help >

About Sibelius

). You can download the latest version by choos-

ing

Help >

Check For Updates

Installing Garritan Personal Orchestra

Quit Sibelius, if it is running.

Insert your Garritan Personal Orchestra Sibelius Edition DVD into your DVD-
ROM drive, label side up. After a few moments, an installation program will
start automatically.

Click

, then

I Accept

You will be prompted for a serial number, which you will find on a label inside
the DVD case that your GPO Sibelius Edition disc came in.

Installation will use the same location as your existing Kontakt Player Silver or
Gold installation. Click

Adjust the name/location of the Start menu icon group, if you can be bothered,
then click

A progress bar will appear as everything is installed to your hard drive. Beware
that the time estimate given on the screen is normally wrong by an order of
magnitude, and it may take several minutes to install everything.

You will be told that installation has completed successfully. Click

Finish

Now turn to

GPO in five minutes

on page 10 to get started.

Garritan Personal Orchestra Sibelius Edition User Guide

Installation on Mac OS X

System requirements

Requires 2GB hard disk space (in addition to Sibelius 4); Mac OS 10.3.9 or later;
DVD drive; Sibelius 4.1 or later. Additionally:

Scores that use up to about 8 different sounds: G4/G5, 1GB+ RAM (1.5GB+ rec-
ommended).

Scores that use up to about 20 different sounds: 1.8GHz processor or faster,
1.5GB+ RAM.

Scores that use reverb or more than 20 different sounds will need a faster proces-
sor and more RAM.

Before you install

You should also ensure that you are running Sibelius 4.1 or later (check the version
number in

Sibelius >

About Sibelius

). You can download the latest version by

choosing

Help >

Check For Updates

Installing Garritan Personal Orchestra

Quit Sibelius, if it is running.

Insert your Garritan Personal Orchestra Sibelius Edition DVD into your DVD-
ROM drive, label side up. An icon will appear on your desktop; double-click it.

In the window that appears, double-click

Install GPO Sibelius Edition

You will be prompted to authenticate, so enter your password and click

You will see a license agreement; click

Continue

, then

Agree

Click

Install

You will be prompted for a serial number, which you will find on a label inside
the DVD case that your GPO Sibelius Edition disc came in.

A progress bar will appear as everything is installed to your hard drive. It may
take several minutes to install everything, so be patient.

You will be told that installation has completed successfully. Click

Quit

Now turn to

GPO in five minutes

on page 10 to get started.

Technical help

Technical help

Before seeking technical help, please ensure that your query is not answered by
the Handbook, tutorial videos, Sibelius Reference or the online Help Center:
choose

Help >

Help Center

in Sibelius, or visit

www.sibelius.com/helpcenter

You can also ask your question on the chat page in the online Help Center, where
you can get help from other Sibelius users.

We provide help on installing Garritan Personal Orchestra Sibelius Edition and
using it with Sibelius. If you have problems with your computer, printer, sound-
card, MIDI equipment, scanner, web site, or other software, we will only be able to
offer general advice and may not be able to help – your hardware/software or
Internet provider is ultimately responsible for solving this kind of problem.

How to get help

Please use email, fax or mail rather than phoning if you do not need an immediate
response.

If you phone for help, have this User Guide and a pen and paper to hand when
you call, and be in front of your computer if possible.

Please contact the technical help center for the country where you bought Garri-
tan Personal Orchestra Sibelius Edition. Technical help may be limited or unavail-
able between 24 December and 1 January.

Australia: Sibelius Australia Pty Ltd., 2/52 Weaver St, Edwardstown, SA 5039,
tel: 08 82 771 722, fax: 08 82 771 799, email:

soundshelpAU@sibelius.com

Austria: Weiss & Kadlec GmbH, Triester Strasse 261, A-1230 Wien, tel: 01 667
45390, fax: 01 667 453921, email:

info@weiss-kadlec.at

Belgium, Netherlands, Luxembourg: Music Electronics, Klokkengieterijstraat
21, 9160 Lokeren, Belgium, tel: (+32) 09 348 5508 (Wednesday-Saturday 10.00-
12.30 & 14.00-18.00, Sunday 14.00-18.00), fax: (+32) 09 348 2386, email:

info@muselec.be

Czech Republic & Slovakia: Disk Multimedia s.r.o., Nam.9 Kvetna 2, Boskovice
680 01, Czech Republic, tel: 0501 454 769, fax: 0501 456 363, email:

disk@disk.cz

Denmark: New Musik, Sindalsvej 48B, Risskov, DK-8240, tel: 0 87 32 87 00, fax:
0 87 32 87 01, email:

info@newmusik.dk

Finland: Carbo’n Music Oy, Kauppatie 8, 04300 Tuusula, tel: 0207 411 370,
email:

info@carbonmusic.fi

France: Steinberg France, 17 rue Curie, 94270 Le Kremlin Bicêtre, tel: 01 46 77
42 40, fax: 01 46 77 42 41, email:

sibelius@steinberg.fr

Garritan Personal Orchestra Sibelius Edition User Guide

Germany: M3C Systemtechnik GmbH, Grossbeerenstr. 51, 10965 Berlin, tel:
030 789 0790 (Monday-Friday 13.00-17.00), fax: 030 785 6849,
email:

support@m3c.de

Greece: Nakas Music House SA, 19km Leoforos Lavriou, Peania, 190 02, tel: 01
210 668 6000, fax: 01 210 668 6108, email:

s.beratis@nakas.gr

Hungary: Midisoft Studio kft, Szuglo u.54, 1145 Budapest, tel: 1 467 3310 / 1
469 0699, fax: 1 467 3323, email:

midisoft@mail.datanet.hu

Iceland: Tonastodin, Skipholt 50d, 105 Reykjavik, tel: 552 1185, fax: 562 8778,
email:

tonastodin@tonastodin.is

Ireland: One Source Computer Services, Connect House, 115 Cork Street, Dub-
lin 8, tel: 01 453 1233, fax: 01 454 5495, email:

source@indigo.ie

Italy: Midiware, Via Cassia 1081, 00189 Rome, tel: 06 3036 3456 (Monday and
Thursday afternoons), fax: 06 3036 3382, email:

supporto@midiware.com

New Zealand: Computer Music Systems, PO Box 8, Helensville, tel: 09 420 9952,
fax: 09 420 9957, email:

info@computermusic.co.nz

North, Central & South America: Sibelius Technical Help, 1407 Oakland Blvd.,
Suite 103, Walnut Creek, CA 94596, USA. Email:

soundshelpusa@sibelius.com

, fax: 1-925-280-0008, tel: 1-925-280-2101,

Monday to Friday 7:00am to 4:00pm PST, except holidays.

Norway: Siv. Ing. Benum AS, PO Box 145, Vinderen, Oslo 0319, tel: 22 13 99 00,
email:

post@benum.no

Poland: Media Business Solutions, 21 Chelmska St. bud. 4 p. 41, 00-724 Warsaw,
tel: 048 22 851 10 40, fax: 048 22 851 10 41, email:

info@mbspro.com.pl

Singapore & Malaysia: Graphic Edumedia, 61 Kaki Bukit Ave 1, #04-20 Shun Li
Industrial Park, Singapore 417943, tel: 674 93656 / 674 95691, fax: 065 674
95691, email:

gmmrkc@pacific.net.sg

South Africa: Tuerk Music Technologies, Commercial City, Cnr. Tungsten &
Hans, Strydom Park, PO Box 1016, Randburg 2125, tel: 011 792 8402, fax: 011
792 8465, email:

hohner@hot.co.za

Spain: Microfusa, Sepulveda 134, Barcelona 08015, Spain. Fax: 93 347 19 16, tel:
93 435 36 82.

Sweden: Fitzpatrick AB, Box 7292, 187 14 Taby, tel: 08 587 915 00, fax: 08 587
915 99

Switzerland: Giant Electronics Ltd., PO Box 142, Rue du Controle 15, 2501
Bienne, tel: 032 322 5274, fax: 032 322 5278, email:

bonjour@giant.ch

UK: Technical Help, Sibelius Software Ltd., The Old Toy Factory, 20–22 City
North, Fonthill Road, London N4 3HF. Email:

soundshelpUK@sibelius.com

fax: 020 7561 7888 (+44 20 7561 7888), tel: 020 7561 7997 (+44 20 7561 7997)
Monday-Friday 10am-6pm UK time except public holidays.

Getting started

Getting started

GPO in five minutes

Using Garritan Personal Orchestra Sibelius Edition is very simple. To get great-
sounding playback, all you have to do is:

Choose the appropriate sound set for your score

Adjust the default choice of sounds in Sibelius’s Mixer window, if required

Ensure your score is marked up appropriately with dynamics, hairpins, slurs,
trills, and so on

Hit the Play button and listen to the results of your handiwork!

Choosing an appropriate sound set

Because Garritan Personal Orchestra has more than 280 sounds, we’ve supplied a
number of different sound sets suited to a variety of ensembles to help Sibelius
choose the most appropriate default sounds for your score.

So once you know what forces you’re writing for:

Choose

Play >

Playback and Input Devices

On the

Playback Devices

page, ensure that

Kontakt Player

is set as your

default device (on Windows, this means that the

Use

column is set to

Yes

for

Kontakt Player and to

for all other devices, and on Mac, Kontakt Player

should be selected and blue in color)

Under the

Sound set

column, choose the most appropriate sound set, e.g.

GPO

Modern Orchestra

GPO String Orchestra

, or

GPO Kontakt Gold Combo

Click

to close the dialog.

For help in choosing which sound set is most appropriate for which kind of score,
see

Choosing a sound set

on page 12.

Adjusting the default choice of sounds

Each of the sound sets includes a reasonable set of default sounds for your score’s
playback. If you discover, however, that you prefer the lush violin sounds to the
standard sectional violin sounds, simply open Sibelius’s Mixer window, select the
fader for the staff whose sound you want to modify, and choose the desired sound
from the

Sound

menu. For help with using the Mixer window, refer to

4.2 Mixer

in Sibelius Reference.

For more information about when you may want to adjust the default choice of
sounds, see

Choosing instruments

on page 15.

Marking up your score

Unlike other advanced sample libraries, Garritan Personal Orchestra Sibelius Edi-
tion is integrated into Sibelius itself, so there’s no need to jump through any of the

GPO in five minutes

hoops normally associated with getting great sample playback from a notation
application.

You don’t need to insert a whole new staff when you want your violin to switch
from arco to pizz. You don’t need to add hidden notes to activate a keyswitch. You
don’t need to laboriously record in modulation wheel changes or sustain pedal
MIDI messages to achieve volume changes or legato.

Instead, you simply mark up your score with normal, musical markings: add slurs
for legato, add hairpins for volume changes, add up-bow and down-bow articula-
tions for quick runs of string notes, add “pizz.” and “arco” as text. Sibelius inter-
prets all of these markings automatically to take advantage of many of the
advanced capabilities of the Garritan Personal Orchestra library.

For more information about exactly which markings Sibelius interprets, see

What

Sibelius interprets

on page 19.

Just hit Play

When you’re ready to hear your music brought to life, just click the Play button in
the Playback window, or hit

Space

. If you need help with the Playback window,

see

4.1 Playback

in Sibelius Reference.

If the necessary sounds haven’t been loaded into the Kontakt Player, they’ll now
load. A progress bar will then appear for a moment while Sibelius analyses your
score and creates the appropriate controller messages. (If you have

View >

Hidden

Objects

switched on you may notice lots of small gray text items drawn above the

staves in your score – don’t worry, they’ll disappear again when you stop play-
back.)

You’ll then hear your score played back with greater realism and expression than
ever!

How to use the Kontakt Player

To show or hide the Kontakt Player window, choose

Window >

Kontakt Player

(shortcut

Ctrl

Alt

Refer to the

4.9 Kontakt Player

topic in Sibelius Reference for further details

about how to use the Kontakt Player interface.

Getting started

Choosing a sound set

Because Garritan Personal Orchestra contains more than 280 different sounds, we
have provided 10 different sound sets designed for different ensembles, so you can
in each case choose from a different subset of specially-targeted sounds drawn
from the whole collection.

How to change sound set

Choose

Play >

Playback and Input Devices

Click in the

Sound Set

column to show the menu of sound sets, as shown:

Choose the desired sound set, then click

to confirm your choice.

See

4.10 Playback and input devices

in Sibelius Reference for more help on

using this dialog.

GPO sound sets

The 10 supplied sound sets are as follows:

GPO 32 Slot Orchestra

: This is the best sound set for quickly setting up and

playing back any score. Only 32 instruments are available, to fit into the 32 slots
of the Kontakt Player, and each instrument has been carefully chosen to allow
the best overall coverage of most orchestral scores without having to spend time
changing sounds in the Mixer. Standard orchestral instrument staves in Sibelius
will default to the closest-matching instrument, and non-orchestral instrument
staves will default to piano, so you will never encounter staves in your score
remaining silent during playback.

GPO Baroque Orchestra

: All the string instruments and their variants are

included in this sound set, along with all the pipe organ sounds, to allow maxi-
mum variation and choice. Period wind and brass instruments are chosen
where available. Only the timpani and basic orchestral percussion instruments
are available. This sound set is ideal for the kinds of forces used in Bach or Han-
del oratorios and concertos.

Choosing a sound set

GPO Chamber Ensembles

: A flexible sound set consisting of all the solo

instruments in the collection, as well as most of the ensemble (

Plr

) instruments,

allowing you to build ensembles from individual instruments to your own
requirements. A comprehensive set of percussion and keyboards, including the
piano duo instruments, means just about every chamber ensemble possibility is
covered.

GPO Classical Orchestra

: This sound set has an emphasis on strings, including

as many variations and effects as possible. Percussion is trimmed back, but
there is a full complement of keyboard instruments, as well as most of the wind
and brass sounds. This sound set is ideal for the kinds of forces used in
Beethoven symphonies.

GPO Keyboards and Percussion

: This sound set gives access to all the key-

boards and percussion sounds in the library, some of which are not available in
any other set.

GPO Kontakt Gold Combo

: This sound set is only suitable for use if you

already have Kontakt Gold installed as well as GPO Sibelius Edition. It com-
bines the best of both Kontakt Gold and GPO, allowing access to the instru-
ments otherwise not represented in GPO, such as voices, guitars and bass
guitars, euphonium, Rhodes keyboard and saxophones.

GPO Modern Orchestra

: This is intended to be an all-purpose sound set, fea-

turing guitar and tenor sax from the Kontakt Player Silver/Gold library and
offering the best set of options for winds, brass, percussion and strings. It has
only a few solo strings and fewer keyboards but almost all the percussion
options, catering more for the colorful orchestrations of modern orchestral
music. This sound set is ideal for the kinds of forces used in twentieth century
orchestral music, e.g. film scores.

GPO Romantic Orchestra

: Fewer percussion and string instruments give more

options for subtle changes of wind and brass in this sound set. However, a full
complement of Romantic-era percussion is available. Try using the “Lush”
string instruments for that big Mahler-esque sound.

GPO String Orchestra

: All of the collection’s 95 string instruments are included

in this sound set. Each instrument has been carefully matched with effects such
as pizzicato, tremolo, mute, solo and tutti to allow easy score playback setup.
Most of the percussion and keyboard sounds are also available in this set.

GPO Wind Orchestra

: This sound set features all solo wind and brass instru-

ments and as many of the ensemble (

Plr

) samples as possible to allow for the

maximum number of simultaneous individual wind and brass parts. It also
includes a wide selection of percussion, keyboards, tenor sax from Kontakt
Player Silver, and a double bass (string bass) instrument.

Getting started

Different sound sets for different scores

Because each of the sound sets contains a different subset of the available sounds,
you will often need to choose different sound sets for different scores. To change
the sound set used by a score, see

How to change sound set

on page 12.

Sibelius will prompt you to reset the sounds in your score, so click

Yes

to confirm

the change. If Sibelius doesn’t prompt you to reset sounds, open

Window >

Mixer

(shortcut

on Mac) and click the

Reset Sounds

button. When you save

your score, Sibelius will also save your choice of sound set.

If you open a score that uses a different GPO sound set to the currently chosen
one, Sibelius will automatically switch to that sound set, so you don’t need to keep
track of which sound set you use for each score. If, for some reason, Sibelius can’t
find the GPO sound set used by a particular score, it will allow you to reset the
sounds to the sound set currently in use instead.

Sibelius will only switch the sound set used by Kontakt Player if the sound set cur-
rently in use is a GPO sound set; if Kontakt Player is in use but set to play back via
e.g. the

Kontakt Gold

sound set, it will instead prompt you to reset the sounds.

Similarly, if you have GPO Sibelius Edition installed, but Kontakt Player is not cur-
rently set as an active playback device, Sibelius will not activate the Kontakt Player
device; instead, it will prompt you to reset the sounds.

Creating your own sound set

Because of all the extra information required to allow Sibelius to make use of the
many special playback features in Garritan Personal Orchestra, and because each
sound set also needs its own corresponding set of sound description files for Kon-
takt Player to use, it is not possible to create your own sound set for Garritan Per-
sonal Orchestra Sibelius Edition.

Choosing instruments

Choosing instruments

One of the joys of Garritan Personal Orchestra Sibelius Edition is the enormous
variety and attention to detail that is provided by having, for example, 95 different
string sounds and effects or 28 individual wind instruments available to you.

So even though Sibelius always chooses appropriate sounds for each staff in your
score, you may want to take advantage of some of this remarkable variety. Here are
some ideas to get you started.

Know your limits

The first thing to do is find the playback limit of your computer, as this will affect
the choices you make. See

Setting up Kontakt Player

on page 28 for some steps

to work through to assess the capabilities of your current hardware and software
configuration.

Choosing which instruments to use

When you have determined how many slots you can comfortably use simulta-
neously, you then need to decide which sounds to use.

Provided you have chosen the most appropriate sound set for your score, Sibelius
will normally do a good job of deciding which sound to use for each instrument in
your score.

Sibelius attempts to allocate sounds into the smallest possible number of slots,
because even the most powerful computer cannot currently handle playing 32
slots simultaneously (with reverb) in Sibelius’s Kontakt Player.

Additionally, Kontakt Player cannot swap instruments during playback (that is,
load a new sound into a slot that already has a sound loaded), so all the sounds
you want to use while playing back need to fit in 32 slots or fewer.

Percussive and sustaining instruments

There are two types of instrument in Garritan Personal Orchestra: percussive
instruments, which use MIDI note velocity to determine their dynamics, and sus-
taining instruments, which use velocity to determine attack, but use the MIDI
modulation controller to determine dynamics.

Percussive instruments include piano, harpsichord, timpani, harp, and so on. Sus-
taining instruments include strings, woodwind and brass.

Fortunately, you don’t need to think about this distinction at all, since Sibelius
takes care of this for you, automatically interpreting dynamics on sustaining
instruments as appropriate modulation controller changes.

Getting started

Naming conventions

When you use the Mixer to change the sounds used by your score, you will notice
that the Garritan Personal Orchestra instruments are named in a specific way,
with different suffixes depending on the type of instrument:

= keyswitch – see

Keyswitch instruments

below

= non-vibrato; only specified where there is also a

alternative

= vibrato; only specified where there is also an

alternative

Solo

= a solo instrument; there will also normally be either a section alternative

Plr1

Plr2

, etc. instruments

Plr1

Plr2

= instruments designed for doubling up to produce ensembles – see

Building ensembles with players

below

Overlay

= instruments designed to be added to existing combinations of

Plr1

Plr2

etc. instruments – see

Building ensembles with players

below

= aggressive; Sibelius does not use these by default, but they are available if

you require a more aggressive sound for a passage

Keyswitch instruments

Several Garritan Personal Orchestra instruments make use of a technique called
keyswitching. Instruments that support keyswitching use specific MIDI pitches
(normally at the extremes of register, either very low or very high on a MIDI key-
board) to tell the sampler to switch to a different sample. For example, for a violin
sound, one keyswitch may tell the sampler to switch to a pizzicato sample, another
keyswitch may tell the sampler to switch to a half-step (semitone) trill sample,
another may tell it to switch to a whole-step (tone) trill sample, another still may
tell it to switch to a tremolando sample, and so on.

This is a convenient way of combining a number of different sounds and effects
within an instrument that can be loaded into a single slot in the Kontakt Player.
Keyswitch instruments are, therefore, larger and will take up more memory,
though this should not normally be a problem, provided you are using Kontakt
Player’s Direct From Disk (DFD) streaming feature, which loads the samples bit by
bit from your hard drive as they are needed rather than loading them into mem-
ory in their entirety before starting playback.

By default, Sibelius will choose to use keyswitch instruments (denoted by having

in their names) where available, because this allows the greatest flexibility and

expression in playback.

If you know that you don’t need the extra sounds provided by a keyswitch instru-
ment – e.g. if you never need tremolo, trill or pizzicato techniques in your string
writing – then you can choose one of the smaller, more specialized instruments
instead.

Choosing instruments

Building ensembles with players

In orchestral scores using double, triple or greater numbers of wind and brass
instruments, two systems of notating these instruments are commonly used:
either each instrument (e.g. horn 1, horn 2, etc.) has its own staff in the score, or
more than one instrument (but normally no more than two) share the same staff.

The

Plr1

and

Plr2

instruments are specially designed to ensure that if both instru-

ments play the same note simultaneously, they do not use the same sample, thus
avoiding the “phasing” that can jar the listener’s ear. For an even bigger sound, you
can add the

FHorn Overlay f

instrument to either of your existing horn parts.

To make use of these ensemble sounds in Sibelius, you will need to add extra
staves. You can, for example, add an extra staff, copy the music from the primary
instrument staff to the new one, assign the new staff to use (say) the

Plr2

instru-

ment, then hide it using

Layout >

Focus on Staves

For more details of using ensemble sounds, see

Instruments sharing the same

staff

below.

Instruments sharing the same staff

When using Garritan Personal Orchestra in a sequencer, you might create separate
tracks for, say, each horn instrument, assigning

French horn 1 Plr1 KS

to the first

track,

French horn 2 Plr1 KS

to the second track, and so on. This produces a sin-

gle horn playing each horn part. You could then “double up” each horn player by
adding tracks for

French horn 1 Plr2 KS

and

French horn 2 Plr2 KS

, which pro-

duces two horns on each part.

These techniques, however, are less convenient in Sibelius, where instruments
often share the same staff. So you should be aware of the following limitations:

The most important case is that of two woodwind or brass parts written on the
same staff. The default GPO

Plr1

Plr2

instruments cannot play the following

situations: more than two notes simultaneously; a normal sample and an effect
(say, mute) simultaneously; or a “resound”, where one part is holding a long
note and the other part plays the same pitch at some point during the long held
note (the long note will stop after the other part has finished). If your score
exhibits any of these situations, you will need to copy one part (e.g. by triple-
clicking the staff and using

Edit >

Filter >

Voice 2 or Bottom Notes

) to a new

staff and load a new GPO instrument.

If you have wind or brass parts that sometimes play in unison and sometimes
play different parts on the same staff, it is important not to use the

Plr1

Plr2

etc. instruments and the

Solo

instrument of the same name (e.g. don’t use

French horn 1 Plr1 KS

French horn 1 Plr2 KS

, or

French horn 1 Plr3 KS

with

French horn 1 solo

Plr

instruments do not share samples with each

Getting started

other, but in order to avoid phasing problems they should not be used with the
solo instruments from which they are derived. For example, to solve the case of
four horns, where Horn 1 and Horn 2 might sometimes play in unison, and so
might Horn 3 and Horn 4, assign the staves as follows:

Horn 1 =

French Horn 1 Solo KS

Horn 2 =

French Horn 2 Plr 1

Horn 3 =

French Horn 2 Solo KS

Horn 4 =

French Horn 1 Plr 1

When using keyswitch instruments (e.g.

Vlns 1 KS

), beware that if multiple

staves are playing back on the same slot, if one of the staves requires an effect
that uses a keyswitch (e.g. pizz., tremolos, etc.), all of the staves playing back on
that slot will play the same effect. So you cannot have two staves sharing the
same

Vlns 1 KS

slot, one playing arco, and another playing pizzicato – this is

because keyswitches apply to the entire instrument, rather than individual
notes. To obtain correct playback in this case you need to create a new staff and
copy the relevant section into it, then set the new staff to use another instru-
ment (or a different Kontakt Player slot) in the Mixer.

There are similar issues to consider when working with lots of percussion staves
in the same score – see

Choosing the right percussion sound

on page 26.

What Sibelius interprets

What Sibelius interprets

To get great-sounding playback with Garritan Personal Orchestra Sibelius Edition,
it’s mostly sufficient to mark up your score with all the usual musical markings,
such as slurs, articulations, dynamics, and so on.

For more detailed information about the specific capabilities of each instrumental
family, refer to

and

Keyboards and harp

on page 44. To find out about percussion, turn to

page 23.

Dynamics

As in normal Sibelius playback, all instruments in GPO Sibelius Edition respond
to dynamics – both by way of Expression text such as

p, ff, etc., and cresc./dim.

hairpins – but the precise manner in which they respond depends on whether
they are percussive or sustaining instruments (see

Percussive and sustaining

instruments

on page 15).

Percussive instruments (such as piano, harpsichord, timpani, etc.) cannot increase
the dynamic of a note while it is being played, so if you add a crescendo hairpin
beneath a bar of quarter notes (crotchets) in the timpani staff, each successive
note will get louder, but the decay of each note will not get louder. These instru-
ments play dynamics via MIDI velocity (as in normal Sibelius playback), and
respond to Espressivo and changes to Live Playback as you would expect.

Sustaining instruments (such as violin, trumpet, organ, etc.) can increase the
dynamic of a note while it is being played – by bowing with greater force, by
increasing the pressure of the column of air, by opening the swell box, etc. – so if
you add a crescendo hairpin beneath a bar of quarter notes (crotchets) in a violin
staff, the volume will continuously increase.

For sustaining instruments, Sibelius converts dynamics such as

mp, ff, etc. to

appropriate values for the modulation controller (which controls volume), accord-
ing to the mapping set in

Play >

Garritan Personal Orchestra Options

, under

Dynamics for Modulation Wheel Instruments

, also taking into account the cur-

rent Espressivo setting and any adjustments to Live Playback velocity. You can
optionally also tell Sibelius to alter the attack of each note (which adjusts the note
velocity), by switching on

Change attack with dynamics

. This has the effect of

giving louder notes a more definite attack.

Sibelius is also able to interpret other dynamics specific to sustaining instruments,
such as

sfz (a sudden attack that quickly subsides), fp (a forte attack, immediately

dropping to piano), and so on. Again, you can adjust the amount and speed of the

Getting started

decay of these so-called “envelope” effects in

Play >

Garritan Personal Orchestra

Options

, under

Envelope

. These options do not affect percussive instruments.

Sibelius only recognizes the standard dynamic markings from

ppp–fff, plus fp,

fz and sfz. More extreme dynamics can, of course, be written, but will not be
played back differently via GPO Sibelius Edition.

Sibelius will attempt to read dynamics at either or both ends of a hairpin to deter-
mine the starting and ending dynamics. Consider these two examples:

The example above left will play back exactly as you would expect, beginning

and ending

f. The example above right is more ambiguous: so Sibelius will obey

the setting chosen in the

Playback

panel of Properties for the hairpin. If you don’t

want to use the Properties window to define the start or end dynamic for a hair-
pin, you can alternatively insert some Expression text, then hide it. (Refer to

5.14

Properties

in Sibelius Reference for help with the Properties window.)

Sibelius does not interpret the text cresc. or dim. on its own, because such text
items do not show the duration of the change in dynamics, or the start and/or end
dynamic of the change. If you want such dynamics to appear in your score and
play back correctly, simply insert hairpins (and Expression text for the start and/
or end dynamics, if you wish) and hide them.

Slurs

Sibelius interprets slurs written for sustaining instruments to mean that the notes
under the slur should be played legato. Using the legato feature will make notes
blend into an unbroken and seamless musical phrase, by removing the attack por-
tion of the sample to connect the notes for a smoother sounding effect. The result
sounds like a real legato phrase.

Slurs on percussive instruments have no audible effect beyond that which is
defined in Sibelius’s standard

Play >

Performance

dialog.

Tremolos

Several GPO instruments, including the string sectional instruments (except dou-
ble basses), employ keyswitches (see

Keyswitch instruments

on page 16) to

produce special effects including tremolos, trills, and so on.

Instruments such as

Vlns 1 KS

, for example, include a keyswitch for unmeasured

(i.e. very fast) tremolos. Sibelius will automatically use these sampled tremolos if





 

     

  

 

       

What Sibelius interprets

it calculates that, based on the number of tremolo strokes in a single-note tremolo,
it would be played unmeasured rather than as a series of repeated notes of a par-
ticular value.

You can adjust the threshold above which Sibelius should use sampled tremolos –
see

Garritan Personal Orchestra Options

on page 30.

Trills

Like sampled tremolos, a number of GPO instruments support sampled trills by
way of keyswitches. Sibelius will use these sampled trills when it encounters a trill
line that is set to play back (via the

Playback

panel of Properties) as an interval of

up to two half-steps (semitones), or if it encounters a tr symbol, which it will treat
as a diatonic trill in the current key. (If a diatonic trill is inappropriate, replace the
tr symbol with a trill line from

Create >

Line

and set its playback appropriately.)

For other trills, Sibelius will play them back as normal (i.e. by playing a series of
distinct notes instead of a single sample).

Articulations

Since Sibelius already plays most articulations (such as staccato, marcato, etc.),
only a few articulations have extra special playback in GPO Sibelius Edition.

The most significant are the up- and down-bow articulations, which are sup-
ported by means of a keyswitch in each of the string instruments. However, the
up- and down-bow samples are very short, and therefore are only suitable for fast
runs of notes. As such, Sibelius will only use these keyswitches for notes of a short
duration (which it calculates based on the actual time duration of the note at the
prevailing tempo, rather than its strict written duration).

Sibelius also plays harmonic articulations on the harp, automatically switching to
the appropriate keyswitch.

Text

As with normal Sibelius playback, the words in the

Play >

Dictionary

dialog are

used when playing back through GPO Sibelius Edition. Examples of some of the
text that plays back, when attached to a staff using e.g. Technique or Expression
text:

solo and tutti

arco and pizz.

con sord./avec sourd/mute/closed and senza sord./sans sourd/open

fluttertongue/buzztongue/Flatterzunge/frullato

let ring/L.V. and non-L.V.

vib./vibrato and non-vib./non-vibrato

Getting started

Some additional words can also be used to cancel any preceding effect, e.g. nat.,
natural, naturale, no effect, white tone.

Unlike Sibelius’s normal playback, GPO Sibelius Edition is sufficiently flexible that
you can (say) create a Violin I instrument (i.e. a staff for the whole section), then
add “solo” as text (which switches to a solo violin sound), then add “pizz.” as text
(which switches to a solo pizzicato sound), then add “tutti” (which switches to a
sectional pizzicato sound), and finally add “arco” (which switches back to the sec-
tional bowed sound). There’s no need to add extra staves to switch from sectional
to solo writing, and Sibelius keeps track of whether you’re working “solo” or “tutti”
with regard to the effects it can play back.

If you’re an advanced user, you can also add specific MIDI messages to activate
some of the particularly esoteric behaviors of a few of the GPO instruments. This
is described in some detail in the

Advanced use

section, later in this User Guide.

Live Playback

You may notice that

Play >

Live Playback

is switched on when you start playback,

even if it is normally switched off; if you have

View >

Live Playback Velocities

switched on, you may see these appear during playback, and disappear again
when playback stops. This is completely normal. Sibelius makes a number of tem-
porary adjustments to your score’s Live Playback data “on the fly” in order to
achieve the special effects enabled by Garritan Personal Orchestra Sibelius Edi-
tion.

Tweaking things further

If you’ve got a lot of time on your hands and a strong tendency towards tinkering,
you can add further instructions to the score to improve the realism of the perfor-
mance yet further – see

Fine-tuning your performance

on page 32.

Basic percussion

Basic percussion

You don’t generally have to do anything out of the ordinary in terms of the way you
create your score to obtain great playback through GPO Sibelius Edition, but per-
cussion instruments are a little more complex.

This topic explains the basics of how to use GPO Sibelius Edition’s percussion
instruments effectively; more detailed information can be found in

Percussion

on page 41.

Instruments and staff types

Unpitched percussion instruments in Sibelius use particular staff types, which
define the mappings between the different noteheads that appear at different posi-
tions on the staff (which may have any number of staff lines between one and five)
and the sounds produced for playback. (For more details on percussion staff types,
see

2.20 Percussion

in Sibelius Reference.)

By default, when you create an unpitched percussion instrument in Sibelius, it is
given a staff type that uses a mapping suitable for General MIDI-compatible (GM)
devices. However, this is unsuitable for GPO Sibelius Edition, because (with the
notable exception of the timpani, which is pitched percussion anyway) it does not
use GM mappings for its percussion instruments, so you need to set the most
appropriate staff type for each percussion staff in your score, as follows:

If you are starting a new score or adding one or more new unpitched percussion
instruments to an existing score, choose

Layout >

Instruments and Staves

(shortcut

) and add the necessary instruments

Once a percussion staff exists in your score, select any bar in that staff, and
open the

Staves

panel of Properties. If the Properties window isn’t visible, show

it using

Window >

Properties

(shortcut

Ctrl

Alt

From the menu in the

Staves

panel, choose the most appropriate staff type;

GPO-compatible staff types all have the letters

GPO

in their names. (If you can’t

find any GPO-compatible staff types, see

Missing staff types?

on page 26.)

Now open

Window >

Mixer

(shortcut

Ctrl

Alt

) and check that the

selected staff is set to play back with one of GPO Sibelius Edition’s percussion
sounds (e.g.

Basic Orchestral Percussion

Percussion Toys

, but not

Drums

and Percussion

, which is from Kontakt Player Silver/Gold, and does not sup-

port GPO’s special percussion features) – for further advice on this subject, see

Choosing the right percussion sound

on page 26.

If working with an existing score, or a percussion staff, to which you have
already added notes, you may now need to filter the existing notes on the staff
and change their pitch and/or notehead to match the mapping of the particular

Getting started

GPO-compatible staff type you have chosen (refer to

5.5 Filters and Find

Sibelius Reference for more details).

Now you know how to set a percussion staff to use an appropriate staff type and
playback sound, let’s look at how to write effectively for each of the most impor-
tant percussion instruments supported by GPO Sibelius Edition.

Bass drum

Use the

1 line (bass drum, GPO)

staff type, and choose

Bass Drum KS

(or

Basic

Orchestral Percussion

if you do not require sampled rolls) in the Mixer.

You can use notehead types 0, 1 or 2 on the bass drum staff type.

By default, Sibelius will alternate between left strokes and right strokes on succes-
sive notes. To specify a left or a right stroke, add the text

to the relevant

notes using

Create >

Text >

Other Staff Text >

Percussion Stickings

For a sampled roll (using a keyswitch), either create an unmeasured single note
tremolo, use a “z on stem,” or add a trill to the note(s).

For a “let ring” or non-dampened note, either add a dangling tie (i.e. a tie that is
not terminated with another note) or the appropriate

l.v. up

l.v. down

symbol

(from the

Notes

rows of the

Create >

Symbol

dialog).

Cymbal

Use the

1 line (cymbal, GPO)

staff type, and choose

Cymbals KS

(or

Basic

Orchestral Percussion

if you do not require sampled rolls) in the Mixer.

You can use notehead types 0, 1 or 2 on the cymbal staff type.

By default, Sibelius will alternate between left strokes and right strokes on succes-
sive notes. To specify a left or a right stroke, add the text

to the relevant

notes using

Create >

Text >

Other Staff Text >

Percussion Stickings

For a sampled roll (using a keyswitch), either create an unmeasured single note
tremolo, use a “z on stem,” or add a trill to the note(s).

Bass Drum



Notehead 0



Notehead 1

  

Notehead 2

  

 

Cymbal



Notehead 0



Notehead 1

  

Notehead 2

  



Basic percussion

Snare drum and side drum

Use the

1 line (side drum, GPO)

staff type if you want your side drum to have

snares off by default, or use

1 line (snare drum, GPO)

if you want your side drum

to have snares on by default, and choose

Snares KS

(or

Basic Orchestral Percus-

sion

if you do not require sampled rolls) in the Mixer.

You can use notehead types 0, 1 or 2 on the side drum and snare drum staff types.

By default, Sibelius will alternate between left strokes and right strokes on succes-
sive notes. To specify a left or a right stroke, add the text

to the relevant

notes using

Create >

Text >

Other Staff Text >

Percussion Stickings

For a sampled roll (using a keyswitch), either create an unmeasured single note
tremolo, use a “z on stem,” or add a trill to the note(s).

To put snares on, either add the snare drum symbol (first symbol in the

...drums

row in

Create >

Symbol

), or add the text “Snares on” or “Snare on” above the note

from which you want the snares on. To take snares off, either add the side drum
symbol (second symbol in the

...drums

row in

Create >

Symbol

), or add the text

“Snares off ” or “Snare off ” above the note from which you want the snares off.

Timpani

Use the normal

5 lines (no key signatures)

staff type, and choose

Timpani KS

Basic Orchestral Percussion

in the Mixer.

By default, Sibelius will alternate between left strokes and right strokes on succes-
sive notes. To specify a left or a right stroke, add the text

to the relevant

notes using

Create >

Text >

Other Staff Text >

Percussion Stickings

For a “let ring” or non-dampened note, either add a dangling tie (i.e. a tie that is
not terminated with another note) or the appropriate

l.v. up

l.v. down

symbol

(from the

Notes

rows of the

Create >

Symbol

dialog), as shown in the example

above.

Creating your own staff types

You can, of course, create your own staff types in order to mix and match other
GPO percussion sounds on the same staff – see

Percussion

on page 41 for more

details.

Side drum



Notehead 0



Notehead 1

  



Notehead 2

   



Snares on

  

Snares off

  





Timpani



   







Getting started

Choosing the right percussion sound

Depending on the size of your ensemble (and therefore how many of Kontakt
Player’s 32 slots you can spare for percussion), your system resources (and there-
fore how many slots you can play altogether in the first place), and the density of
the special keyswitch-triggered effects you require in your score, you will need to
choose your percussion sounds carefully.

If one staff requires a keyswitch effect (e.g. a roll on the bass drum), all the staves
that are playing that sound at that moment will also receive the same keyswitch –
keyswitches apply to all the notes being played on that slot. Therefore, only the
individual sounds for each percussion instrument (e.g.

Bass Drum KS

Cymbals

, etc.) support sampled rolls; staves that use

Basic Orchestral Percussion

will

play rolls using lots of repeated notes instead of a roll sample.

So if you want to hear sampled rolls, you should use separate sounds loaded into
separate slots for each percussion staff in your score. For large ensembles, it is rec-
ommended to leave

Use same slot for identical sounds

switched on (in

Kontakt

Player Options

, accessed from

Play >

Playback and Input Devices

), and to use

e.g.

Bass Drum KS

for your bass drum,

Cymbals KS

for your cymbals,

Timpani

for your timpani, and so on. This allows maximum flexibility for the use of

keyswitches in the percussion staves, but uses less memory than using lots of
instances of

Basic Orchestral Percussion

Missing staff types?

If the score you’re working on was created in a version of Sibelius earlier than Sibe-
lius 4.1, it won’t include any of the GPO-compatible staff types. But don’t worry –
it’s easy to import them:

Choose

House Style >

Import House Style

Choose any of the predefined house styles supplied with Sibelius; if you don’t
know which one to choose, choose

Standard Opus (Times).lib

Switch off all of the checkboxes on the right-hand side of the dialog except for

Staff types

Noteheads

Symbols

and

Text Styles

Click

to import the house style.

The

Staves

panel of Properties will now include all the GPO-compatible staff

types.

Advanced use

Advanced use

Setting up Kontakt Player

Getting the optimum level of performance out of Kontakt Player on your particu-
lar hardware configuration can take a little experimentation, but it is time well-
spent.

Initial calibration

First, check in

Kontakt Player Options

(from

Play >

Playback and Input

Devices

) that

Use Reverb

is switched off.

While you’re in

Play >

Playback and Input Devices

, make sure you have

Kon-

takt Player

selected as your playback device, and have selected

GPO Modern

Orchestra

as its sound set.

Open a score that uses a relatively large number of staves, such as

Blue Danube

from the

Orchestral

folder inside

Example Scores

. Click

Yes

if Sibelius asks

you if you want to reset the sounds.

Sibelius will load the best sounds for each staff. Now open

Window >

Mixer

and

check the choices it has made.

Hit the Play button and listen to the results – don’t worry if you think it’s too
loud or too soft, just listen for any stuttering, clicks or drop-out of the sound,
especially in sections where lots of instruments play simultaneously. If you can
play the score without any problems, then congratulations, that’s what you
spent all that money on your computer for!

Now try switching on

Use Reverb

and try again. If you now hear any faltering

in the playback, you have reached the limits of your computer system and you
need to employ one of several tricks. Read on!

Improving performance

If you find that you cannot play back sufficient slots in Kontakt Player, the sin-
gle best improvement you could make is in a soundcard that has ASIO support
(Windows) or Core Audio acceleration (Mac OS X).

Increasing output latency help to alleviate stuttering and drop-outs during
playback. Depending on your sound hardware, you may be able to increase the
latency as follows:

With a score open, choose

Window >

Kontakt Player

, click

Audio Setup

and drag the

Output Latency

slider rightwards.

If no slider is present, click

ASIO Config

, which will open your sound hard-

ware’s control panel, where you can increase the latency. Some soundcards
don’t show an explicit latency option, but look for settings like

DMA Buffer

Size

Sample Buffer Size

– increasing this will increase the output

latency.

Setting up Kontakt Player

If your computer has a large amount of total system RAM (e.g. more than
1.5Gb), try disabling Kontakt Player’s Direct From Disk (DFD) streaming: open

Window >

Kontakt Player

, click

Options

, then click

DFD Active

(when the but-

ton is gray, DFD is off; when it is blue, DFD is on).

Switch on

Use same slot for identical sounds

(in

Kontakt Player Options

from

Play >

Playback and Input Devices

), which will encourage Sibelius to use

fewer slots. You can further reduce the number of slots used simultaneously by
forcing Sibelius to play multiple staves with a single GPO instrument. Wind
and Brass GPO instruments can only play a few notes at the same time, so only
assign two or three staves to each wind or brass instrument. For strings, you
could try changing, say, the first and second violins and the violas to use the

Full Strgs KS

instrument. (Using the

GPO 32 Slot Orchestra

sound set will

achieve a similar result, as it has most Sibelius staves allocated to only a few
GPO instruments.)

If you want to use

File >

Export >

Audio Track

but find that you can’t play back

all of the staves simultaneously, try exporting only one section at a time (e.g.
winds first, then brass, then strings), before combining the resulting audio files
in an audio editing application (such as Audacity, which is freely available from

http://audacity.sourceforge.net/

). All the files will be the same length, so it

will be simple to mix them together. This will also allow you to use an external,
off-line reverb for a more realistic recording.

If Kontakt Player produces warnings about low physical memory when loading
the sounds, try selecting a “lite” version of the GPO instrument if available.
Some of the GPO instruments (e.g. Steinway Piano, and the string sectional
keyswitch instruments) use a lot of memory. If you are short on memory, you
should also ensure that Direct From Disk (DFD) is switched on, which helps to
minimize memory usage.

Sibelius can use multiple playback devices simultaneously, so you could even
use another playback device for some staves. On Windows, make sure the

Use

column is set to

Yes

for all the devices you want to use (on Mac, all devices are

always available), then select each staff in the Mixer and change the setting
under

Device

as appropriate. You may need to adjust the

Latency

values in

Play >

Playback and Input Devices

for devices other than Kontakt Player to

get the sounds to play back at the same time.

For further reading

For information on how to use the Kontakt Player window, refer to

4.9 Kontakt

Player

in Sibelius Reference.

For further help on obtaining the best possible performance on your system, see

http://www.sibelius.com/helpcenter/en/a386

Advanced use

Garritan Personal Orchestra Options

Though you won’t often need to go there,

Play >

Garritan Personal Orchestra

Options

contains some options that advanced users may wish to adjust:

The

Volume

values allow you to specify the modulation wheel value to be used

for sustaining instruments for each dynamic from

ppp–fff.

Change attack with dynamics

allows you to also adjust the attack (MIDI

velocity) associated with each dynamic level; this option is off by default.

Default Attack

specifies the attack to use for notes on sustaining instruments if

Change attack with dynamics

and

Convert all Live Playback velocities to

attack

are switched off.

Modify attack for articulations and accents

allows you to adjust the attack

(MIDI velocity) associated with each articulation; this option is off by default.
The value for each articulation is added to the current attack of the note, up to a
maximum of 127.

Convert all Live Playback velocities to volume

determines whether Sibelius

should convert existing Live Playback velocities to modulation wheel changes,
or ignore them; this option is on by default. (In normal Sibelius playback, Live
Playback velocities adjust the volume of the note, so this option maps this
behavior onto GPO’s sustaining instruments.)

Convert all Live Playback velocities to attack

allows existing Live Playback

velocities to control the attack of notes on sustaining instruments; this option is
off by default. Use this if you want to specify the precise attack of notes for sus-

Garritan Personal Orchestra Options

taining instruments; you can specify the attack by adjusting the Live Playback
velocity.

The

Envelope

options specify the

Boost

(whereby the value is added to the

current volume of the note, up to a maximum of 127) and the

Decay

(the per-

centage of the note’s duration over which the envelope takes effect) for

fp, fz

and

sfz dynamics.

Play unmeasured tremolos with

or more strokes

allows you to adjust the

threshold above which Sibelius will use a sampled tremolo instead of a number
of repeated notes, calculated in terms of the number of strokes on a quarter
note (crotchet).

Attack for played trills and tremolos

allows you to set the attack to be used for

the sampled tremolos and trills played via keyswitches.

All the options in this dialog are application-wide, i.e. they are not saved in your
score.

Advanced use

Fine-tuning your performance

If you are an accredited MIDI wizard, you may wish to add extra MIDI messages
to your score in order to further enhance the realism of Sibelius’s performance.

For help on adding MIDI messages, refer to

4.12 MIDI messages

in Sibelius Ref-

erence.

Completely disabling all special playback

If you want to prevent Sibelius from doing any special processing at all in your
scores (e.g. if you’re a total MIDI wizard and have laboriously added all the neces-
sary programming to your score by hand), choose

Play >

Playback and Input

Devices

, click the

Kontakt Player Options

button, and switch off

Play articula-

tions, dynamics, techniques etc.

This setting is program-wide, i.e. it applies to

all scores.

Temporarily disabling special playback

If you want to prevent Sibelius from doing any special processing for the markings
in just a section of your score, create the text

~SibeliusSoundsPlaybackOff

in a

staff text style (e.g. Technique text) on the staff you want Sibelius to ignore. When
you want Sibelius to start processing the markings on that staff again, create the
text

~SibeliusSoundsPlaybackOn

Adding other MIDI messages

As in normal Sibelius playback, Sibelius will read any MIDI message text you cre-
ate in your score. You may want to create:

Program changes (e.g.

~P64

) to switch to different sounds (e.g. from a “lush”

string sound to a more aggressive string sound for a faster passage). Beware
that the program number for each sound may vary, depending on the sound set
you are using for your score; refer to the additional tables found on your Garri-
tan Personal Orchestra Sibelius Edition DVD-ROM.

Variation changes (e.g.

~C22,3

and

~C24,8

) to make repeated notes sound

more human, by introducing tiny changes in intonation and attack from note to
note.

Length (e.g.

~C21,64

) to change the release of the samples; you can adjust the

Length

knob in the Kontakt Player window to set the length for all the staves

that play back via that slot, but you may want to adjust it on a local basis in the
middle of the score.

Refer to

on page 38, and

Keyboards and harp

on page 44 for details of which MIDI controllers are sup-

ported by each kind of instrument.

Strings

Strings

The string instruments in Garritan Personal Orchestra include a pair of Stradi-
varis, a Guarneri, several Gaglianos, two Pierrays, two Montagnana cellos, a Test-
ore, a Pallota viola, a Calcanius, a Klotz, a Vaillant, and a Betts, all of which were
made circa 1700. Amazingly, these string instruments have lasted hundreds of
years and still have a powerful and beautiful sound.

Collectively, these instruments are worth millions of dollars, although the true
value of any fine string instrument is in its sound, which is priceless. The sounds
of these exquisite string instruments are now at your command.

Capabilities of GPO string instruments

Garritan Personal Orchestra’s string instruments are organized to allow maximum
flexibility and customization. Solo sounds for each member of the string family
are included, as well as keyswitched instruments, which incorporate the most
commonly-used string articulations into one sound, with the articulations acti-
vated automatically by Sibelius triggering a note outside the playable range of the
instrument.

Multiple ensemble string instruments are also included, each programmed in a
way that allows you to build custom string sections. These ensemble patches are
useful in creating unison and divisi lines where control over each instrument in
the section is desired – see

Building ensembles with players

on page 17.

Typically, though, you will use the pre-built keyswitched string section sounds,
which include sustained/legato, pizzicato, trills, tremolo, muted, and short bow
articulations.

Aggressive sounds (denoted by the suffix

in their names) for the short bow and

sustained string patches are included for when a more aggressive sound is needed.
These sounds have a more distinct attack and are therefore more suitable for pas-
sages requiring a brighter or harder articulation.

How the sounds are programmed

The special programming included in GPO’s solo and ensemble string samples is
activated by the use of keyswitches and standard MIDI controller messages, as fol-
lows:

Velocity = Attack/Volume (non-sustain only): MIDI note velocity is used to con-
trol the initial “note on” attack strength on all sustained/legato solo and ensem-
ble string sounds. This attack equates to how hard the bow strikes the string.
Velocity is also used to control attack and volume on pizzicato patches. For sus-
tained sounds, Sibelius automatically converts the velocities of the notes in the

Advanced use

score to modulation controllers (see below), and then sets the attack of the
notes according to the settings in the

Play >

Garritan Personal Orchestra Set-

tings

dialog.

Modulation (CC1) = Volume (sustain only): Modulation is used to control the
volume and timbre characteristics of all sustained/legato solo, ensemble, sec-
tion and full string sounds. Sibelius adds modulation controller messages auto-
matically in response to dynamics written in the score (or Live Playback
velocities) according to the mappings defined in

Play >

Garritan Personal

Orchestra Options

, but you can also control your own modulation changes via

the wheel on your MIDI keyboard if necessary.

Legato (CC68): This controller is used to create smooth, legato playback. Sibel-
ius adds legato controller messages automatically in response to slurs written in
the score. You can also add suitable MIDI messages to your score:

~C68,0

pro-

duces a detaché sound;

~C68,127

produces a legato sound.

Portamento (CC20): This controller is used to create portamento during legato
passages based on note intervals and the controller value. The closer the notes,
the higher the portamento value used; inversely, the larger the interval between
notes, the lower the portamento value used. Notes further than an octave apart
typically do not use portamento. This controller can be used only in conjunc-
tion with legato playing when the sustain pedal controller is active. Sibelius
does not add portamento controller messages automatically; you can add them
by hand using text such as

~C20,16

Length (CC21): This controller is used to shorten or lengthen the playback of
the samples. When used with the short bow sounds this controller is useful for
creating the effect of marcato articulations, or can inversely give the effect of
lighter bowstrokes in a sautillé fashion. When using this controller with sus-
tained strings higher values of CC21 can be useful for obtaining smoother
legato lines. Most instruments load with this controller set to a moderate level
by default. Sibelius does not adjust the length controller automatically; you can
adjust it for yourself by hand using text such as

~C21,64

Variability (CC22, CC24): CC22 controls the intonation of the notes, and is use-
ful during repeated note phrases. Very small adjustments to CC22 can help
reduce the “machine gun” effect of repeated notes using precisely the same
sample. CC24 controls variations in timbre/volume for the solo and ensemble
sounds. Sibelius does not adjust the variability controllers automatically, since
they must be used in moderation; you can adjust them by hang using text such
as

~C22,2

and

~C24,64

Portamento (CC19): This controller is used on all sustained string samples to
aid the creation of portamento when going from detached (non-legato) playing
to legato playing. This controller switches to a layer that does not respond to

Strings

pitch bend data. This gives the user the flexibility to create pitch bend MIDI
messages between two notes, which only have an effect on the second note of
the pair. This solves certain kinds of portamento problems. Sibelius does not
adjust the portamento controller automatically.

Playable trills/Bow noise (CC16): This controller has two functions that are spe-
cific to particular sounds. When used with the

(aggressive) short bow

sounds, this controller controls bow noise and can be used to add “grit” to the
sound. The solo keyswitch strings use CC16 to control an alternative switching
system for trills on keyswitch notes G# and A. The standard keyswitches (G#–
B) give the user control over half-step and whole-step trills plus their muted
counterparts. CC16 extends switching to intervals from a half-step to as wide as
a major third using the following values:

~C16,0

–

~C16,32

= half-step (semitone)

~C16,33

–

~C16,64

= whole step (tone)

~C16,65

–

~C16,96

= minor third

~C16,97

–

~C16,127

= major third

Sibelius only automatically supports the standard keyswitches for half-step
(semitone) and whole step (tone) trills. These so-called “playable” trills are not
appropriate for use in Sibelius, and are therefore not supported; they play one
note of the trill when a key on a MIDI keyboard is depressed, and play the other
note of the trill when the key is released, thus making the trill playable using a
single key (plus the appropriate keyswitch).

Advanced use

Woodwinds

The woodwind family consists of a wide variety of instruments, each with its own
unique sound, including varieties of flutes, oboes, clarinets, and bassoons. Quality
woodwind instruments sampled for this library include Haynes flutes, Selmer
clarinets and Heckel bassoons.

Capabilities of GPO woodwind instruments

The wind instrument samples in Garritan Personal Orchestra are expressive and
beautiful, whether you choose to use them in a solo context, in small intimate
ensembles, or in vast orchestral pieces. Included in the library are solo and ensem-
ble versions of all the major instruments in the woodwind family. Keyswitched
flute and piccolo sounds are included.

How the sounds are programmed

The special programming included in GPO’s woodwind instruments is activated
by the use of keyswitches and standard MIDI controller messages, as follows:

Velocity = Attack/Volume (non-sustain only): MIDI note velocity is used to con-
trol the initial “note on” attack strength on all sustained/legato solo and ensem-
ble woodwind sounds. This attack equates to how forcefully the instrument is
played. For sustained sounds, Sibelius automatically converts the velocities of
the notes in the score to modulation controllers (see below), and then sets the
attack of the notes according to the settings in the

Play >

Garritan Personal

Orchestra Settings

dialog.

Modulation (CC1) = Volume (sustain only): Modulation is used to control the
volume and timbre characteristics of all sustained/legato solo and ensemble
woodwind sounds. Sibelius adds modulation controller messages automatically
in response to dynamics written in the score (or Live Playback velocities)
according to the mappings defined in

Play >

Garritan Personal Orchestra

Options

, but you can also control your own modulation changes via the wheel

on your MIDI keyboard if necessary.

~C68,0

pro-

duces a tongued sound;

~C68,127

produces a legato sound.

Woodwinds

tion with legato playing when the sustain pedal controller is active. Sibelius
does not add portamento controller messages automatically; you can add them
by hand using text such as

~C20,16

Length (CC21): This controller is used to shorten or lengthen the playback of
the samples. This controller can be used to improve emulation of double- and
triple-tonguing in the woodwinds. When using this controller with sustained
woodwinds higher values of CC21 can be useful for obtaining smoother legato
lines. Most instruments load with this controller set to a moderate level by
default. Sibelius does not adjust the length controller automatically; you can
adjust it for yourself by hand using text such as

~C21,64

~C22,2

and

~C24,64

Aftertouch (CC131) = vibrato intensity: Many of the non-vibrato solo wood-
winds have a hidden vibrato intensity controller to allow the user to apply the
level of vibrato to the instrument. This controller does not apply to the instru-
ments that contain natural vibrato and therefore only applies to instruments
that have a non-vibrato choice (denoted by the suffix

in their names). This

controller has also been added to some instruments that do not normally have
vibrato (e.g. clarinet, French horn). This controller should be used along with
the vibrato speed controller (see below). Sibelius does not adjust the vibrato
intensity controller automatically; you can adjust it by hand using text such as

~C131,64

Vibrato speed controller (CC17): This controller, when used in conjunction with
the vibrato intensity controller (see above), will vary the vibrato speed of those
instruments that normally contain no vibrato. As before, this does not affect
instruments that have natural vibrato and will apply only to non-vibrato sounds
(with

in their names). Sibelius does not adjust the vibrato intensity control-

ler automatically; you can adjust it by hand using text such as

~C17,64

Advanced use

Brass

The brass instruments in a modern orchestra include variations of the French
horn, the trumpet, the trombone, and the tuba. Each possesses a unique color and
range, from the bright piercing sound of the trumpet to the deep, dark tones of the
tuba.

Capabilities of GPO brass instruments

The brass instruments in Garritan Personal Orchestra have been exquisitely cap-
tured and allows for a very dynamic brass section in your Sibelius score. In addi-
tion to the standard solo sounds included in GPO, there are also ensemble sounds
and brass overlays, mutes, and aggressive patches. The overlays are used to create
a larger brass sound, while the aggressive patches are useful in adding a punch to
the brass section by increasing the hardness of the attack.

How the sounds are programmed

The special programming included in GPO’s solo and ensemble brass samples is
activated by the use of keyswitches and standard MIDI controller messages, as fol-
lows:

Velocity = Attack/Volume (non-sustain only): MIDI note velocity is used to con-
trol the initial “note on” attack strength on all sustained/legato solo and ensem-
ble brass sounds. This attack equates to how forcefully the player releases the
air column to begin the note. Velocity is also used to control attack and volume
on pizzicato patches. For sustained sounds, Sibelius automatically converts the
velocities of the notes in the score to modulation controllers (see below), and
then sets the attack of the notes according to the settings in the

Play >

Garritan

Personal Orchestra Settings

dialog.

Modulation (CC1) = Volume (sustain only): Modulation is used to control the
volume and timbre characteristics of all sustained/legato solo and ensemble
brass sounds. Sibelius adds modulation controller messages automatically in
response to dynamics written in the score (or Live Playback velocities) accord-
ing to the mappings defined in

Play >

Garritan Personal Orchestra Options

but you can also control your own modulation changes via the wheel on your
MIDI keyboard if necessary.

~C68,0

pro-

duces a detaché sound;

~C68,127

produces a legato sound.

Portamento (CC20): This controller is used to create portamento during legato
passages based on note intervals and the controller value. The closer the notes,

Brass

the higher the portamento value used; inversely, the larger the interval between
notes, the lower the portamento value used. Notes further than an octave apart
typically do not use portamento. This controller can be used only in conjunc-
tion with legato playing when the sustain pedal controller is active. Sibelius
does not add portamento controller messages automatically; you can add them
by hand using text such as

~C20,16

Length (CC21): This controller is used to shorten or lengthen the playback of
the samples. It is useful for creating sforzando articulations when using the
aggressive (named

) sounds, or for obtaining a convincing staccato sound. It

can also be valuable in helping to create double- and triple-tonguing passages.
When using this controller with sustained brass higher values of CC21 can be
useful for obtaining smoother legato lines. Most instruments load with this
controller set to a moderate level by default. Sibelius does not adjust the length
controller automatically; you can adjust it for yourself by hand using text such
as

~C21,64

~C22,2

and

~C24,64

Aftertouch (CC131) = vibrato intensity: Many of the non-vibrato solo brass
instruments have a hidden vibrato intensity controller to allow the user to apply
the level of vibrato to the instrument. This controller does not apply to the
instruments that contain natural vibrato and therefore only applies to instru-
ments that have a non-vibrato choice (denoted by the suffix

in their names).

This controller has also been added to some instruments that do not normally
have vibrato (e.g. French horn). This controller should be used along with the
vibrato speed controller (see below). Sibelius does not adjust the vibrato inten-
sity controller automatically; you can adjust it by hand using text such as

~C131,64

in their names). Sibelius does not adjust the vibrato intensity control-

ler automatically; you can adjust it by hand using text such as

~C17,64

Portamento (CC19): This controller is used on the solo trombone samples to aid
the creation of portamento when going from detached (non-legato) playing to

Advanced use

legato playing. This controller switches to a layer that does not respond to pitch
bend data. This gives the user the flexibility to create pitch bend MIDI messages
between two notes, which only have an effect on the second note of the pair.
This solves certain kinds of portamento problems. Sibelius does not adjust the
portamento controller automatically.

Saturation (CC16): This controller is used in conjunction with the aggressive
brass sounds (named

) to add more forcefulness and “grit” to the sound.

Sibelius does not adjust the saturation controller automatically.

Pitch bend: This controller can be effectively used with the solo trombone
patches to create “scoops” or “drops” at the beginning of notes or passages, and
can be used in conjunction with the other portamento controllers (CC20 and
CC19). Trombones have a wider pitchbend range than most instruments: six
half-steps (semitones).

Brass overlays

The brass instruments have

Overlay

instruments, sampled at the forte or fortis-

simo level, that can be layered with the solo and ensemble instruments to achieve
a fuller, more massive section sound. The trumpets, trombones, and tubas each
have one

Overlay

instrument and the French horns have two. In general, the Over-

lay instruments can be used to:

Add “body” and resonance to the sound of a brass section. This can affect the
apparent size of the section, making it sound larger.

Increase the contrast in timbre from soft to loud. The contrast increases as you
add more

Overlay

. The soft end of the spectrum becomes mellower, the loud

end becomes brighter and brassier.

Give the impression of a larger section size while using fewer resources, con-
suming fewer instrument slots within the Kontakt Player.

Give greater control over strong articulations. The French horns have two

Over-

lay

instruments (

and

) because the horns often require a large range of tim-

bre variation in typical orchestral writing. The combination of

Solo

and player

(

Plr

) instruments with either or both

Overlays

can create a large variety of

characteristics.

Percussion

Percussion

The percussion instruments are often the loudest members of the orchestra and
are therefore normally seated at the back! The instruments of the percussion fam-
ily are played by being hit, shaken or scraped, and provide a variety of rhythms
and tonal textures.

For basic information about how to use percussion in your score, see

Basic per-

cussion

on page 23.

Creating your own percussion staff types

In order to use GPO’s percussion instruments most effectively, you need to use the
supplied GPO-compatible staff types, or create your own. To do this:

Choose

House Style >

Edit Staff Types

, and choose the

Percussion

radio but-

ton in the dialog

Select an existing percussion staff type that is similar to the kind of staff type
you want to create, and click

New

Change the name of the staff type on the

General

tab of the

Edit Staff Type

dia-

log; make sure you give it a distinctive name so that you can find it in the list of
staff types later on

Adjust the number of staff lines as appropriate on the

Notes and Rests

tab of

the dialog

On the

Percussion

tab, add noteheads to map onto percussion sounds. For

GPO, you should switch on

Use MIDI pitch

instead of choosing a named sound

from the

Sound

menu (which only lists the default General MIDI percussion

sounds, and as such is inappropriate for GPO). To find out which MIDI pitch
you need to select for each sound, refer to the list for each GPO instrument in

Appendix B: Percussion instrument mappings

on page 66.

For more details about editing staff types, refer to

6.14 Edit Staff Types

in Sibel-

ius Reference.

Don’t forget: any staff type you create is only available in the score in which you
create it, but you can make your own staff types available in other scores by means
of exporting and importing house styles or setting up your own manuscript
papers – refer to

6.7 House style

and

2.17 Manuscript papers

in Sibelius Ref-

erence for more details.

Capabilities of GPO percussion instruments

A varied collection of percussion instruments is at your disposal, almost all of
which are keyswitched instruments (with the exception of the cymbals and wind
machine).

Advanced use

There are also two combination sounds: Basic Orchestral Percussion (which com-
bines the commonly-used orchestral percussion into one instrument) and Percus-
sion Toys (which combines a number of more esoteric instruments, such as mark
tree).

How the sounds are programmed

The special programming included in GPO’s percussion samples is activated by
the use of keyswitches and standard MIDI controller messages. Some of these con-
trollers are universal across all percussion instruments, while others are specific to
certain instruments or types of instruments (see below).

Velocity = Attack/Volume: All percussion instruments included in Garritan Per-
sonal Orchestra use velocity for attack and volume control.

Length (CC21): This controller is used to shorten or lengthen the playback of
the samples. It is not available for all samples. Sibelius does not adjust the
length controller automatically, but it can be adjusted manually by means of
text instructions such as

~C21,32

Modulation (CC1) = Percussion roll volume (for recorded rolls): The modulation
control, for those percussion instruments that use it, works in a similar manner
as the sustaining instruments. Cymbals, snare drum and bass drum all use the
modulation wheel for rolled crescendos/decrescendos, and the wind machine
uses mod wheel control for volume. Sibelius automatically applies modulation
control changes for hairpins on rolls (notated as unmeasured tremolos or trills)
on the supplied GPO percussion staff types.

Sustain pedal (CC64) = Dampening: This controller switches whether percus-
sion instruments should be allowed to let ring (sustain pedal on) or be damp-
ened (sustain pedal off).

Variability (CC22, CC24): CC22 controls the intonation of the notes, and is use-
ful during repeated note phrases. Very small adjustments to CC22 can help
reduce the “machine gun” effect of repeated notes using precisely the same
sample. CC24 controls variations in timbre/volume for the percussion sounds.
Sibelius does not adjust the variability controllers automatically, since they
must be used in moderation; you can adjust them by hang using text such as

~C22,2

and

~C24,64

Bass drum

Bass drum fundamental (CC20): Although the bass drum is an instrument of
indefinite pitch, its tone is very deep and booming and capable of being
adjusted. The bass drum in Personal Orchestra has an adjustable fundamental
that is controlled either via the

BDFund

knob in the Kontakt Player window or

Percussion

via MIDI messages such as

~C20,64

. This control can add a great deal of

energy to extremely low frequencies, so use it with care.

Aggressive brightness (CC16): Increasing the value of this controller can give the
impression of harder mallets being played aggressively, e.g. via MIDI messages
such as

~C16,72

Vibraphone

Attack (CC20): For the vibraphone this controller controls the vibraphone's
attack speed. This allows continuous control of the vibraphone's attack speed
from hard to “bowed” attacks, either via the

Attack

knob in the Kontakt Player

window, or via MIDI messages such as

~C20,84

Tremolo level (CC22): For the vibraphone this controller controls the level of
tremolo, to be used in tandem with tremolo speed (see below). Controlled by
the

TRMLEV

knob in the Kontakt Player window, or via MIDI messages such as

~C22,64

Tremolo speed (CC24): For the vibraphone this controller controls the speed of
the tremolo. to be used in tandem with tremolo level (see above). Controlled by
the

TRMSPD

knob in the Kontakt Player window, or via MIDI messages such as

~C24,32

Advanced use

Keyboards and harp

The two harps that are included in Garritan Personal Orchestra are a Venus Grand
Concert harp and a Wurlitzer Concert harp, circa 1920s.

High-quality keyboard instruments were also sampled: a Steinway® 9' Concert
Grand Piano was sampled at two dynamic levels (Steinway® name used by permis-
sion from Steinway and Sons); the harpsichord is a double manual French harpsi-
chord, built by Hubbard; the celeste was manufactured by Mustel; the Concert
Pipe Organ is a German Baroque pipe organ built by Rudolf von Beckerath, with
three manuals and pedals, containing 11 individual stops.

Steinway Concert Grand Piano

Included in Garritan Personal Orchestra is a full Steinway Concert Grand instru-
ment as well as two piano duo instruments that are meant for duo piano pieces, as
well as a “lite” version of the full piano instrument to be used in ensemble situa-
tions when computer resources are at a premium.

Velocity = Note Attack and Volume: Note attack and volume are controlled by
velocity.

Sustain pedal (CC64): As you would expect, the piano responds correctly to the
sustain pedal controller, which you can achieve either via use of the pedal lines
(in

Create >

Line

) or MIDI messages in the form

~C64,127

Celeste and Glass Harmonica

These two instruments share similar programming but give entirely different
sounds. The celeste is a beautiful bell-sounding instrument, while the rare glass
harmonica is a sound unique unto itself.

Velocity = Note Attack: Velocity only controls the note attack on the celeste and
glass harmonica.

Sustain Pedal (CC64) = Dampening: The sustain pedal acts to dampen the notes
played on the celeste and glass harmonica.

Harps

Because of the way a harp is played Garritan Personal Orchestra offers different
types of harp patches. There are standard chromatic harp instruments for single
plucked notes, glissando harps to emulate harp glissandos, harp harmonics
patches for harp effects to add realism, and harp keyswitch instruments so that
the user has access to all these types of sounds in one convenient instrument.

Velocity = Note Attack and Volume: Note attack and volume are controlled by
velocity.

Keyboards and harp

Sustain pedal (CC64) = damping: MIDI messages of the form

~C64,127

will

engage the sustain pedal controller, allowing the harp to let ring;

~C64,0

damps the harp strings. By default, the harp will play back with the strings
undampened (i.e. the sustain pedal is on).

Keyswitches: The harp keyswitch instruments combine the chromatic harp, the
glissando harp, and the harp harmonics into one convenient instrument.

Concert Pipe Organ

The organ is the only keyboard instrument that does not use velocity to control
the volume/timbre characteristics of the instrument. Since the pipe organ is con-
trolled by wind pressure from the bellows, this works quite well and lends to a
more satisfying experience when playing live. There are 13 organ patches in Garri-
tan Personal Orchestra, each with a unique and particular sound. Extra controls
have been added to the pipe organ instruments to increase the tonal possibilities.
Using the programming listed below you should be able to create convincing
organ pieces quickly and efficiently.

Velocity = Note Attack: Velocity only controls the note attack on the organ.

Modulation (CC1) = Volume/Timbre: The modulation controller controls the
volume and timbre dynamics of the organ. This affords greater dynamic control
of the organ.

Organ Fundamental (CC20): This controller controls the fundamental strength
of the organ sounds, and is especially useful in the pedal instruments. Con-
trolled via the

FUND

knob in the Kontakt Player window, or via MIDI messages

of the form e.g.

~C20,64

Organ Filter Strength (CC22): This controller, when used in conjunction with
filter frequency (see below), allows the user to boost certain frequencies of the
organ. Controlled via the

FILTLV

knob in the Kontakt Player window, or via

MIDI messages of the form e.g.

~C22,64

Organ Filter Frequency (CC24): This controller, when used in conjunction with
filter strength (see above), allows the user to boost certain frequencies of the
organ. Controlled via the

FILTFQ

knob in the Kontakt Player window, or via

MIDI messages of the form e.g.

~C24,64

Harpsichord

The harpsichord's programming is also simple yet effective, with all of the stops
available via a keyswitch.

The harpsichord always produces notes of the same volume and attack at each
dynamic level; Sibelius will automatically switch to the 4’ stop when a

p dynamic

is encountered, switch to the 8’+4’ stop when a

f dynamic is encountered, and

switch to the lute stop when the Technique text lute is encountered.

Advanced use

Appendices

Appendices

Appendix A: List of instruments

Listed below are all the instruments included in GPO Sibelius Edition. Additional
tables listing the specific capabilities of each instrument, which sound sets they
are found in, etc. can be found on your GPO Sibelius Edition DVD-ROM.

Key

Leg = CC68 legato control

Sus (sus) = sustain pedal for normal sustain control

SusDp = sustain pedal with damping control

MW = modulation wheel expression control

Vel = note velocity for accents and attack

Vel (vol) = note velocity for volume control

VAR 1 = automatic variability of intonation

VAR 2 = automatic variability of timbre

ALT = up and down bowstrokes

BDFund = fundamental of the bass drum

KS = keyswitch instrument. All the notes used by keyswitches are in the octave

C–1

B–1

, i.e. MIDI notes

–

Length = sample length.

Plr

instruments do not share samples with each other but must not be used with

the solo instruments from which they are derived to avoid phasing problems;
e.g. don’t use

French horn 1 Plr1*

Plr2*

, or

Plr3*

with

French horn 1 (solo)

Name

Description

Controls

WOODWIND INSTRUMENTS

Alto Flute Solo

Principal alto flute. The alto flute plays four notes lower
than a conventional flute. Made by Mönnig.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Alto Flute Plr1*

Associate ensemble instrument for building ensembles.
First player in an ensemble derived from the

Alto Flute

Solo

instrument.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Alto Flute Plr2*

Associate ensemble instrument for building ensembles.
Second player in an ensemble derived from the

Alto Flute

Solo

instrument.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Alto Flute Plr3*

Associate ensemble instrument for building ensembles.
Third player in an ensemble derived from the

Alto Flute

Solo

instrument.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Bass Clarinet
Solo

Principal bass clarinet. Plays one octave lower than a con-
ventional clarinet.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Appendix A: List of instruments

Bass Clarinet
Plr1*

Associate ensemble instrument for building ensembles.
First player in an ensemble derived from the

Bass Clari-

net Solo

instrument.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Bass Clarinet
Plr2*

Associate ensemble instrument for building ensembles.
Second player in an ensemble derived from the

Bass

Clarinet Solo

instrument.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Bass Clarinet
Plr3*

Associate ensemble instrument for building ensembles.
Third player in an ensemble derived from the

Bass Clari-

net Solo

instrument.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Bass Flute Solo
Vib

Principal bass flute, played with vibrato. Plays one octave
lower than a conventional flute.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Bass Flute Solo
NV

Principal bass flute, played without vibrato. Plays one
octave lower than a conventional flute.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Bass Flute Plr1*

Associate ensemble instrument for building ensembles.
First player in an ensemble derived from the

Bass Flute

Solo

instrument.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Bass Flute Plr2*

Associate ensemble instrument for building ensembles.
Second player in an ensemble derived from the

Bass

Flute Solo

instrument.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Bass Flute Plr3*

Associate ensemble instrument for building ensembles.
Third player in an ensemble derived from the

Bass Flute

Solo

instrument.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Bassoon 1 Solo

Principal solo bassoon. Made by Heckel.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Bassoon 2 Solo

Second bassoon. A different bassoon with a different tone.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Bassoon Plr1*

Associate ensemble instrument for building ensembles.
First player in an ensemble derived from the

Bassoon 1

Solo

instrument.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Bassoon Plr2*

Associate ensemble instrument for building ensembles.
Second player in an ensemble derived from the

Bassoon

1 Solo

instrument.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Bassoon Plr3*

Associate ensemble instrument for building ensembles.
Third player in an ensemble derived from the

Bassoon 1

Solo

instrument.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Bb Clarinet Solo

Principal solo B

b clarinet. Made by Buffet.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Bb Clarinet Plr1*

Associate ensemble instrument for building ensembles.
First player in an ensemble derived from the

Bb Clarinet

Solo

instrument.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Bb Clarinet Plr2*

Associate ensemble instrument for building ensembles.
Second player in an ensemble derived from the

Bb Clari-

net Solo

instrument.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Name

Description

Controls

Appendices

Bb Clarinet Plr3*

Associate ensemble instrument for building ensembles.
Third player in an ensemble derived from the

Bb Clarinet

Solo

instrument.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Contrabass Clari-
net Solo

Principal contrabass clarinet. Plays an octave lower than
the bass clarinet.

LEg, MW, Vel, Port, VAR 1,
VAR 2, Length

Contrabassoon 1
Solo

Principal contrabassoon. Plays one octave lower than a
conventional bassoon and lower than any instrument in
the orchestra.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Contrabassoon 2
Solo

Second contrabassoon. Has a wider note range and a dif-
ferent tone quality. Made by Schreiber.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Eb Clarinet Solo

Principal E

b Solo Clarinet. Plays four notes higher than

the B

b Clarinet.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

English Horn 1
Solo

Principal English horn. Also referred to as a cor anglais or
alto oboe.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

English Horn 2
Solo

Second English horn (cor anglais) with a different tone
and more pronounced vibrato. Made by Loree.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

English Horn 1
Plr1*

Associate ensemble instrument for building ensembles.
First player in an ensemble derived from the

English

Horn 1 Solo

instrument.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

English Horn 1
Plr2*

Associate ensemble instrument for building ensembles.
Second player in an ensemble derived from the

English

Horn 1 Solo

instrument.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

English Horn 1
Plr3*

Associate ensemble instrument for building ensembles.
Third player in an ensemble derived from the

English

Horn 1 Solo

instrument.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Flute Solo Vib

Principal solo flute. played vibrato. Made by Haynes.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Flute Solo NV

Principal solo flute. played non vibrato.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Flute Solo KS

Keyswitch version of the solo flute instrument (

C-1

vibrato;

D-1

= non vibrato;

E-1

= fluttertongue).

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length, KS

Flute Solo Flutter

Principal solo flute, played fluttertongue.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Flute Plr1*

Associate ensemble instrument for building ensembles.
First player in an ensemble derived from the

Flute Solo

instrument.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Flute Plr2*

Associate ensemble instrument for building ensembles.
Second player in an ensemble derived from the

Flute

Solo

instrument.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Flute Plr3*

Associate ensemble instrument for building ensembles.
Third player in an ensemble derived from the

Flute Solo

instrument.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Name

Description

Controls

Appendix A: List of instruments

Oboe 1 Modern
Solo

Principal solo oboe.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Oboe 2 Modern
Solo

Second solo oboe, with a little more vibrato. Made by
Püchner.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Oboe 3 Modern
Solo

Third solo oboe, with a slightly different tone and more
pronounced vibrato.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Oboe 1 Modern
Plr1*

Associate ensemble instrument for building ensembles.
First player in an ensemble derived from the

Oboe 1

Modern Solo

instrument.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Oboe 1 Modern
Plr2*

Associate ensemble instrument for building ensembles.
Second player in an ensemble derived from the

Oboe 1

Modern Solo

instrument.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Oboe 1 Modern
Plr3*

Associate ensemble instrument for building ensembles.
Third player in an ensemble derived from the

Oboe 1

Modern Solo

instrument.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Oboe Classical
Solo

Fourth solo oboe. Older vintage instrument with a differ-
ent tone quality.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Oboe D’Amore

Solo oboe d’amore.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Piccolo Vib Solo

Principal piccolo. played vibrato. Made by Hammig.

Piccolo NV Solo

Principal piccolo. played non vibrato.

Piccolo Solo KS

Keyswitch version of the piccolo instrument (

C-1

vibrato;

D-1

= non vibrato;

E-1

= fluttertongue).

Piccolo Flutter

Principal piccolo, played fluttertongue.

BRASS INSTRUMENTS

Bass Trombone 1
Solo

Principal Bass Trombone. Plays one octave lower than a
conventional trombone. Made by Bach.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Bass Trombone 2
Solo

2nd Bass Trombone. A different bass trombone with a
brighter tone.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Bass Trombone 2
Solo ag

Same as

Bass Trombone 2 Solo

, but programmed for a

more aggressive sound.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Contratuba Solo

Principle contratuba. Plays lower than a conventional
tuba. Specially made by Melton.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

French horn 1
Solo

Principal solo French horn.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

French horn 1
Solo KS

Keyswitch version of the

French horn 1 Solo

instrument

(

C-1

= regular sustain,

D-1

= mutes).

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

French horn 1
Solo ag

The same as

French Horn 1 Solo

but with a more

aggressive sound.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Name

Description

Controls

Appendices

French horn 1
Plr1*

Associate ensemble instrument for building ensembles.
First player in an ensemble, derived from the principle
French horn instrument.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

French horn 1
Plr1 KS*

A keyswitch version of

French horn 1 Plr1

(

C-1

= regu-

lar sustain,

D-1

= mutes).

Leg, MW, Vel, Port, VAR 1,
VAR 2, KS, Length

French horn 1
Plr2*

Associate ensemble instrument for building ensembles.
Second player in an ensemble, derived from the principle
French horn instrument.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

French horn 1
Plr2 KS*

A keyswitch version of

French horn 1 Plr2

(

C-1

= regu-

lar sustain,

D-1

= mutes).

Leg, MW, Vel, Port, VAR 1,
VAR 2, KS, Length

French horn 1
Plr3*

Associate ensemble instrument for building ensembles.
Third player in an ensemble, derived from the principle
French horn instrument.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

French horn 1
Plr3 KS*

A keyswitch version of

French horn 1 Plr3

(

C-1

= regu-

lar sustain,

D-1

= mutes).

Leg, MW, Vel, Port, VAR 1,
VAR 2, KS, Length

French horn 2
Solo

Second French horn. A different French horn with a dif-
ferent tone quality.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

French horn 2
Solo Ag

The same as French horn 2 Solo but programmed for a
more aggressive sound.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

French horn 2 Plr
1*

Associate ensemble instrument for building ensembles.
First player in an ensemble, derived from the second
French horn instrument.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

French horn 2
Plr2*

Associate ensemble instrument for building ensembles.
Second player in an ensemble, derived from the second
French horn instrument.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

French horn 2
Plr3*

Associate ensemble instrument for building ensembles.
Third player in an ensemble, derived from the second
French horn instrument.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

French Horn Solo
Mute

Principal French horn played with a straight mute (sor-
dino)

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

French Horn
Mute Plr1*

Associate ensemble instrument for building ensembles.
First player in an ensemble, derived from the French horn
muted instrument.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

French Horn
Mute Plr2*

Associate ensemble instrument for building ensembles.
Second player in an ensemble, derived from the French
horn muted instrument.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

French Horn
Mute Plr3*

Associate ensemble instrument for building ensembles.
Third player in an ensemble, derived from the French
horn muted instrument.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

F Horn f overlay

A different solo French horn played forte and intended to
be played with other horns to create a fuller section
sound.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Name

Description

Controls

Appendix A: List of instruments

F Horn f overlay
ag

The same as

F Horn f overlay

but programmed for a

more aggressive sound.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

F Horn ff overlay

A different solo French horn played fortissimo and
intended to be layered with other horns to create a fuller
section sound.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Tenor Tbone
Solo

Principal solo tenor trombone, made by Conn.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Tenor Tbone
Solo KS

A keyswitch version of the

Tenor Tbone Solo

instrument

(

C-1

= regular sustains,

D-1

= mutes).

Leg, MW, Vel, Port, VAR 1,
VAR 2, KS, Length

Tenor Tbone
Solo ag

The same as

Tenor Tbone Solo

but programmed for a

more aggressive sound.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Tenor Tbone
Plr1*

Associate ensemble instrument for building ensembles.
First player in an ensemble, derived from the principal
tenor trombone instrument.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Tenor Tbone Plr1
KS*

A keyswitch version of

Tenor Tbone Plr1

(

C-1

= regular

sustains,

D-1

= mutes).

Leg, MW, Vel, Port, VAR 1,
VAR 2, KS, Length

Tenor Tbone
Plr2*

Associate ensemble instrument for building ensembles.
Second player in an ensemble, derived from the principal
tenor trombone instrument.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Tenor Tbone Plr2
KS*

A keyswitch version of

Tenor Tbone Plr2

(

C-1

= regular

sustains,

D-1

= mutes).

Leg, MW, Vel, Port, VAR 1,
VAR 2, KS, Length

Tenor Tbone
Plr3*

Associate ensemble instrument for building ensembles.
Third player in an ensemble, derived from the principal
tenor trombone instrument.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Tenor Tbone Plr3
KS*

A keyswitch version of

Tenor Tbone Plr3

(

C-1

= regular

sustains,

D-1

= mutes).

Leg, MW, Vel, Port, VAR 1,
VAR 2, KS, Length

Tenor Tbone
Solo Mute

Principle tenor trombone played with a straight mute
(sordino)

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Tenor Tbone
Mute Plr1*

Associate ensemble instrument for building ensembles.
First player in an ensemble, derived from the tenor trom-
bone muted instrument.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Tenor Tbone
Mute Plr2*

Associate ensemble instrument for building ensembles.
Second player in an ensemble, derived from the tenor
trombone muted instrument.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Tenor Tbone
Mute Plr3*

Associate ensemble instrument for building ensembles.
Third player in an ensemble, derived from the tenor trom-
bone muted instrument.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Tbone Overlay

A different solo trombone played forte and intended to be
layered with other trombones to create a fuller section
sound.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Tbone Overlay ag

The same as

Tbone Overlay

but programmed for a more

aggressive sound.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Name

Description

Controls

Appendices

Tpt 1 Solo

Principal solo C trumpet.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Tpt 1 Solo KS

A keyswitch version of the

Tpt 1 Solo

instrument (

C-1

regular sustains,

D-1

= mutes).

Leg, MW, Vel, Port, VAR 1,
VAR 2, KS, Length

Tpt 1 Solo ag

The same as

Tpt 1 Solo

but programmed for a more

aggressive sound.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Tpt 1 Plr1*

Associate ensemble instrument for building ensembles.
First player in an ensemble, derived from the principal
trumpet instrument.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Tpt 1 Plr1 KS*

A keyswitch version of

Tpt1 Plr1

(

C-1

= regular sustains,

D-1

= mutes).

Leg, MW, Vel, Port, VAR 1,
VAR 2, KS, Length

Tpt 1 Plr2*

Associate ensemble instrument for building ensembles.
Second player in an ensemble, derived from the principal
trumpet instrument.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Tpt 1 Plr2 KS*

A keyswitch version of

Tpt1 Plr2

(

C-1

= regular sustains,

D-1

= mutes).

Leg, MW, Vel, Port, VAR 1,
VAR 2, KS, Length

Tpt 1 Plr3*

Associate ensemble instrument for building ensembles.
Third player in an ensemble, derived from the principal
trumpet instrument.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Tpt 1 Plr3 KS*

A keyswitch version of

Tpt1 Plr3

(

C-1

= regular sustains,

D-1

= mutes).

Leg, MW, Vel, Port, VAR 1,
VAR 2, KS, Length

Tpt 2 Solo

Second solo trumpet; a different trumpet with a brighter
sound than

Tpt 1 Solo

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Tpt 2 Plr1*

Associate ensemble instrument for building ensembles.
First player in an ensemble, derived from the second
trumpet instrument.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Tpt 2 Plr2*

Associate ensemble instrument for building ensembles.
Second player in an ensemble, derived from the second
trumpet instrument.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Tpt 2 Plr3*

Associate ensemble instrument for building ensembles.
Third player in an ensemble, derived from the second
trumpet instrument.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Tpt Piccolo NV
Solo

Piccolo trumpet played with no vibrato. Made by Bach
Stradivarius.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Tpt Piccolo V
Solo

Piccolo trumpet played with vibrato.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Tpt Solo Straight
Mute

Principal trumpet played with a straight mute (sordino).

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Tpt Straight Mute
Plr1*

Associate ensemble instrument for building ensembles.
First player in an ensemble derived from the muted trum-
pet instrument.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Name

Description

Controls

Appendix A: List of instruments

Tpt Straight Mute
Plr2*

Associate ensemble instrument for building ensembles.
Second player in an ensemble derived from the muted
trumpet instrument.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Tpt Straight Mute
Plr3*

Associate ensemble instrument for building ensembles.
Third player in an ensemble derived from the muted
trumpet instrument.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Tpt Overlay

A different solo trumpet played forte and intended to be
layered with other trumpets to create a fuller section
sound.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Tpt Overlay ag

The same as

Tpt Overlay

but programmed for a more

aggressive sound.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Tuba 1 Solo

Principal solo bass tuba. Made by Bohland Fuchs.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Tuba 2 Solo

Second solo bass tuba, with a different tone.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Tuba 2 Solo ag

The same as

Tuba 2 Solo

but programmed for a more

aggressive sound.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Tuba Overlay

A different solo tuba played forte and intended to be lay-
ered or played solo for a fuller sound.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Tuba Overlay ag

The same as

Tuba Overlay

but programmed for a more

aggressive sound.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

HARP INSTRUMENTS

Chromatic Harp
1

Venus harp with a mellow sound.

Vel (vol), SusDp

Chromatic Harp
1 Lite

A lite version of the

Chromatic Harp 1

instrument.

Vel (vol), SusDp

Chromatic Harp
2

Wurlitzer harp with a clearer sound.

Vel (vol), SusDp

Chromatic Harp
2 Lite

A lite version of the

Chromatic Harp 2

instrument.

Vel (vol), SusDp

Glissando Harp 1

Maps

Chromatic Harp 1

samples to the white notes of

the keyboard. Simulate harp glissandos in real time by
running your finger up and down the white notes.

MIDI maps are used to
emulate pedals.

Glissando Harp 2

Maps

Chromatic Harp 2

samples to the white notes of

the keyboard.

MIDI maps are used to
emulate pedals.

Harp 1 KS

A keyswitch instrument containing all the

Chromatic

Harp 1

instruments (

C-1

= chromatic harp;

D-1

= glis-

sando harp;

G-1

= harp harmonics)

Vel (vol), SusDp

Harp 2 KS

A keyswitch instrument containing all the

Chromatic

Harp 2

instruments (

C-1

= chromatic harp;

D-1

= glis-

sando harp;

G-1

= harp harmonics)

Vel (vol), SusDp

Harp Harmonics
1

Venus harp playing harmonics.

SusDp

Name

Description

Controls

Appendices

Harp Harmonics
2

Wurlitzer harp playing harmonics.

SusDp

KEYBOARD INSTRUMENTS

Celesta

Solo celesta instrument, made by Mustel.

Vel (vol), SusDp, Sus (sus)

Glass Harmonica

Emulation of a glass harmonica.

Vel (vol)

Harpsichord KS

The harpsichord is a double manual French harpsichord
made by Hubbard. The stops are selected by keyswitches
(

C-1

= 8’ stop;

D-1

= 8’+4’ stop;

E-1

= buff/lute stop,

muted sound)

KS, Vel (vol), Sus (sus)

Steinway Piano

Steinway concert grand piano, chromatic with two
dynamics.

Vel (vol), Sus (sus)

Steinway Piano
Lite

Steinway concert grand piano, chromatic with two
dynamics, using fewer samples.

Vel (vol), Sus (sus)

Steinway Piano
Duo 1 & Duo 2

The instrument is mapped so two keyboards do not have
samples in common. They can be used in piano duos.

Vel (vol), Sus (sus)

Pipe Organ

The pipe organ is a German Baroque organ build by
Rudolf von Beckerath. It has three manuals and pedals,
each containing from 7 to 11 individual stops. Stops
include: Baroque Plen Reed Ped; Baroque Plen Reeds;
Baroque Plenum Ped; Baroque Plenum; Brustwerk All
stops; Cornet; Flutes; Full Organ; Haupt Mix; Hauptwerk
All Stops; Prinzipal; Scharf IV; Symphonic Plenum

Vel (vol), Fund, FiltLV,
FiltFQ

PERCUSSION INSTRUMENTS

Basic Orch Per-
cussion

See

Appendix B: Percussion instrument mappings

Vel (vol), BDFund, BD
Aggressive control VAR 1,
VAR 2, KS

Bass Drum KS

See

Appendix B: Percussion instrument mappings

BDFund, Vel (vol), KS,
VAR 1, VAR 2 aggressive
control

Crotales

Crotales resemble small cymbals and produce a definite
pitch.

Vel (vol), VAR1, VAR2

Cymbals KS

See

Appendix B: Percussion instrument mappings

Vel (vol), VAR1, VAR2, KS

Glockenspiel

The glockenspiel is another name for orchestral bells.

Vel (vol), VAR1, VAR2

Marimba

The marimba has two rows of wooden bars that are played
with beaters (mallets).

Vel (vol), SusDp, VAR1,
VAR2

Handbells

Handbells are sets of brass bells, each tuned to a particular
note of the scale.

Vel (vol), VAR1, VAR2

Percussion Toys

See

Appendix B: Percussion instrument mappings

Vel (vol), VAR1, VAR2, KS

Snares KS

See

Appendix B: Percussion instrument mappings

Vel (vol), VAR1, VAR2, KS

Timpani KS

See

Appendix B: Percussion instrument mappings

Vel (vol), VAR1, VAR2, KS

Tubular Bells

Tubular bells are also known as orchestral chimes.

Vel (vol), SusDp, VAR 1,
VAR 2

Name

Description

Controls

Appendix A: List of instruments

Vibraphone

The vibraphone has two rows of metal bars with electric
resonators that produce a distinctive vibrato or throbbing
effect.

Vel (vol) Sus Attack,
Length, TrmLev, TrmSpd

Wind Machine

A wind machine is an effects instrument that emulates the
sound of wind. Made by Amati.

MW (vol)

Xylophone

The xylophone has two rows of graduated wooden bars,
mounted in a frame, that are played with beaters (mal-
lets).

Vel (vol), SusDp

SECTIONAL STRING INSTRUMENTS

Vln 1 Lush

A lush sustain with strong vibrato played by a twelve-
player first violin section.

Leg, MW, Vel, Port,
Length, VAR 1, VAR 2

Vln 1 Lush Mutes

Same as above, played with mutes (con sordino).

Leg, MW, Vel, Port,
Length, VAR 1, VAR 2

Vlns 1 Pizzicato

First violin section played pizzicato. Velocity controls vol-
ume level and timbre changes (brighter at higher veloci-
ties).

Vel (vol), VAR 1, VAR 2

Vlns 1 Short
Bows KS

First violin section played short bow style, controlled by
velocity. Uses keyswitch for bow direction control (

D-1

alternate bow strokes;

D#-1

= bow stroke 1;

E-1

= bow

stroke 2)

Vel (vol), KS, Length, VAR
1, VAR 2

Vlns 1 Short
Bows KS ag

Vlns 1 Short Bows

with more aggressive sound, con-

trolled by velocity. Keyswitch as above.

Vel (vol), KS, Length, VAR
1, VAR 2

Vlns 1
Sustain+Short

First violin section strings that combine characteristics of
both long and short bows into single instruments.

Leg, MW, Vel, Port,
Length, VAR 1, VAR 2

Vlns 1
Sustain+Short ag

Vlns 1 Sustain+Short

with more aggressive sound, con-

trolled by the modulation controller (CC1).

Leg, MW, Vel, Port,
Length, VAR 1, VAR 2

Vlns 1 Sustain+
Short Mutes

Same as above, played with mutes (con sordino).

Leg, MW, Vel, Port,
Length, VAR 1, VAR

Vlns 1 Tremolo

First violin section played tremolo.

Leg, MW, Vel, Port,
Length, VAR 1, VAR 2

Vlns 1 Trills Half

First violin section played half-step (semitone) trills.

Leg, MW, Vel, Port,
Length, VAR 1, VAR 2

Vlns 1 Trills
Whole

First violin section played whole-step (tone) trills.

Leg, MW, Vel, Port,
Length, VAR 1, VAR 2

Vlns 1 KS

Keyswitch instrument containing all

Vlns 1

instruments

(

C-1

= Sus+short (legato with sustain pedal);

C#-1

Sus+short mutes (legato with sustain pedal);

D-1

= Alter-

nate up- and down-bows;

D#-1

Up-bows;

E-1

= Down-

bows;

F-1

= Pizzicato;

F#-1

= Tremolo mutes (legato with

sustain pedal);

G-1

= Tremolo (legato with sustain pedal);

G#-1

= Half-step trills mutes (legato with sustain pedal);

A-1

= Half step trills (legato with sustain pedal);

A#-1

Whole-step trills mutes (legato with sustain pedal);

B-1

Whole step trills (legato with sustain pedal).

Leg, MW, Vel, Port,
Length, VAR 1, VAR 2, KS,
Alt

Name

Description

Controls

Appendices

Vln 2 Lush

A lush sustain with strong vibrato played by a ten-player
second violin section.

Leg, MW, Vel, Port,
Length, VAR 1, VAR 2

Vln 2 Lush Mutes

Same as above, played with mutes (con sordino).

Leg, MW, Vel, Port,
Length, VAR 1, VAR 2

Vlns 2 Pizzicato

Second violin section played pizzicato. Velocity controls
volume level and timbre changes (brighter at higher veloc-
ities).

Vel (vol), VAR 1, VAR 2

Vlns 2 Short
Bows KS

Second violin section played short bow style, controlled
by velocity. Uses keyswitch for bow direction control (

D-1

= alternate bow strokes;

D#-1

= bow stroke 1;

E-1

= bow

stroke 2)

Vel (vol), KS, Length, VAR
1, VAR 2

Vlns 2 Short
Bows KS ag

Vlns 2 Short Bows

with more aggressive sound, con-

trolled by velocity. Keyswitch as above.

Vel (vol), KS, Length, VAR
1, VAR 2

Vlns 2 Sustain+
Short

Second violin section strings that combine characteristics
of both long and short bows into single instruments.

Leg, MW, Vel, Port,
Length, VAR 1, VAR 2

Vlns 2 Sustain+
Short ag

Vlns 2 Sustain+Short

with more aggressive sound, con-

trolled by the modulation controller (CC1).

Leg, MW, Vel, Port,
Length, VAR 1, VAR 2

Vlns 2 Sustain+
Short Mutes

Same as above, played with mutes (con sordino).

Leg, MW, Vel, Port,
Length, VAR 1, VAR

Vlns 2 Tremolo

Second violin section played tremolo.

Leg, MW, Vel, Port,
Length, VAR 1, VAR 2

Vlns 2 Trills Half

Second violin section played half-step (semitone) trills.

Leg, MW, Vel, Port,
Length, VAR 1, VAR 2

Vlns 2 Trills
Whole

Second violin section played whole-step (tone) trills.

Leg, MW, Vel, Port,
Length, VAR 1, VAR 2

Vlns 2 KS

Keyswitch instrument containing all

Vlns 2

instruments

(

C-1

= Sus+short (legato with sustain pedal);

C#-1

Sus+short mutes (legato with sustain pedal);

D-1

= Alter-

nate up- and down-bows;

D#-1

Up-bows;

E-1

= Down-

bows;

F-1

= Pizzicato;

F#-1

= Tremolo mutes (legato with

sustain pedal);

G-1

= Tremolo (legato with sustain pedal);

G#-1

= Half-step trills mutes (legato with sustain pedal);

A-1

= Half step trills (legato with sustain pedal);

A#-1

Whole-step trills mutes (legato with sustain pedal);

B-1

Whole step trills (legato with sustain pedal).

Leg, MW, Vel, Port,
Length, VAR 1, VAR 2, KS,
Alt

Violas Lush

A lush sustain with strong vibrato played by a ten-player
viola section.

Leg, MW, Vel, Port,
Length, VAR 1, VAR 2

Violas Lush
Mutes

Same as above, played with mutes (con sordino).

Leg, MW, Vel, Port,
Length, VAR 1, VAR 2

Violas Pizzicato

Viola section played pizzicato. Velocity controls volume
level and timbre changes (brighter at higher velocities).

Vel (vol), VAR 1, VAR 2

Violas Short
Bows KS

Viola section played short bow style, controlled by veloc-
ity. Uses keyswitch for bow direction control (

D-1

= alter-

nate bow strokes;

D#-1

= bow stroke 1;

E-1

= bow stroke

Vel (vol), KS, Length, VAR
1, VAR 2

Name

Description

Controls

Appendix A: List of instruments

Violas Short
Bows KS ag

Violas Short Bows

with more aggressive sound, con-

trolled by velocity. Keyswitch as above.

Vel (vol), KS, Length, VAR
1, VAR 2

Violas Sustain+
Short

Viola section strings that combine characteristics of both
long and short bows into single instruments.

Leg, MW, Vel, Port,
Length, VAR 1, VAR 2

Violas Sustain+
Short ag

Violas Sustain+Short

with more aggressive sound, con-

trolled by the modulation controller (CC1).

Leg, MW, Vel, Port,
Length, VAR 1, VAR 2

Violas Sustain+
Short Mutes

Same as above, played with mutes (con sordino).

Leg, MW, Vel, Port,
Length, VAR 1, VAR

Violas Tremolo

Viola section played tremolo.

Leg, MW, Vel, Port,
Length, VAR 1, VAR 2

Violas Trills Half

Viola section played half-step (semitone) trills.

Leg, MW, Vel, Port,
Length, VAR 1, VAR 2

Violas Trills
Whole

Viola section played whole-step (tone) trills.

Leg, MW, Vel, Port,
Length, VAR 1, VAR 2

Violas KS

Keyswitch instrument containing all

Violas

instruments

(

C-1

= Sus+short (legato with sustain pedal);

C#-1

Sus+short mutes (legato with sustain pedal);

D-1

= Alter-

nate up- and down-bows;

D#-1

Up-bows;

E-1

= Down-

bows;

F-1

= Pizzicato;

F#-1

= Tremolo mutes (legato with

sustain pedal);

G-1

= Tremolo (legato with sustain pedal);

G#-1

= Half-step trills mutes (legato with sustain pedal);

A-1

= Half step trills (legato with sustain pedal);

A#-1

Whole-step trills mutes (legato with sustain pedal);

B-1

Whole step trills (legato with sustain pedal).

Leg, MW, Vel, Port,
Length, VAR 1, VAR 2, KS,
Alt

Cellos Lush

A lush sustain with strong vibrato played by an eight-
player viola section.

Leg, MW, Vel, Port,
Length, VAR 1, VAR 2

Cellos Lush
Mutes

Same as above, played with mutes (con sordino).

Leg, MW, Vel, Port,
Length, VAR 1, VAR 2

Cellos Pizzicato

Cello section played pizzicato. Velocity controls volume
level and timbre changes (brighter at higher velocities).

Vel (vol), VAR 1, VAR 2

Cellos Short
Bows KS

Cello section played short bow style, controlled by veloc-
ity. Uses keyswitch for bow direction control (

D-1

= alter-

nate bow strokes;

D#-1

= bow stroke 1;

E-1

= bow stroke

Vel (vol), KS, Length, VAR
1, VAR 2

Cellos Short
Bows KS ag

Cellos Short Bows

with more aggressive sound, con-

trolled by velocity. Keyswitch as above.

Vel (vol), KS, Length, VAR
1, VAR 2

Cellos Sustain+
Short

Cello section strings that combine characteristics of both
long and short bows into single instruments.

Leg, MW, Vel, Port,
Length, VAR 1, VAR 2

Cellos Sustain+
Short ag

Cellos Sustain+Short

with more aggressive sound, con-

trolled by the modulation controller (CC1).

Leg, MW, Vel, Port,
Length, VAR 1, VAR 2

Cellos Sustain+
Short Mutes

Same as above, played with mutes (con sordino).

Leg, MW, Vel, Port,
Length, VAR 1, VAR

Cellos Tremolo

Cello section played tremolo.

Leg, MW, Vel, Port,
Length, VAR 1, VAR 2

Name

Description

Controls

Appendices

Cellos Trills Half

Cello section played half-step (semitone) trills.

Leg, MW, Vel, Port,
Length, VAR 1, VAR 2

Cellos Trills
Whole

Cello section played whole-step (tone) trills.

Leg, MW, Vel, Port,
Length, VAR 1, VAR 2

Cellos KS

Keyswitch instrument containing all

Cellos

instruments

(

C-1

= Sus+short (legato with sustain pedal);

C#-1

Sus+short mutes (legato with sustain pedal);

D-1

= Alter-

nate up- and down-bows;

D#-1

Up-bows;

E-1

= Down-

bows;

F-1

= Pizzicato;

F#-1

= Tremolo mutes (legato with

sustain pedal);

G-1

= Tremolo (legato with sustain pedal);

G#-1

= Half-step trills mutes (legato with sustain pedal);

A-1

= Half step trills (legato with sustain pedal);

A#-1

Whole-step trills mutes (legato with sustain pedal);

B-1

Whole step trills (legato with sustain pedal).

Leg, MW, Vel, Port,
Length, VAR 1, VAR 2, KS,
Alt

Basses Lush

A lush sustain with strong vibrato played by a seven-
player double bass section.

Leg, MW, Vel, Port,
Length, VAR 1, VAR 2

Basses Lush
Mutes

Same as above, played with mutes (con sordino).

Leg, MW, Vel, Port,
Length, VAR 1, VAR 2

Basses Pizzicato

Double bass section played pizzicato. Velocity controls
volume level and timbre changes (brighter at higher veloc-
ities).

Vel (vol), VAR 1, VAR 2

Basses Short
Bows KS

Double bass section played short bow style, controlled by
velocity. Uses keyswitch for bow direction control (

D-1

alternate bow strokes;

D#-1

= bow stroke 1;

E-1

= bow

stroke 2)

Vel (vol), KS, Length, VAR
1, VAR 2

Basses Short
Bows KS ag

Basses Short Bows

with more aggressive sound, con-

trolled by velocity. Keyswitch as above.

Vel (vol), KS, Length, VAR
1, VAR 2

Basses Sustain+
Short

Double bass section strings that combine characteristics
of both long and short bows into single instruments.

Leg, MW, Vel, Port,
Length, VAR 1, VAR 2

Basses Sustain+
Short ag

Basses Sustain+Short

with more aggressive sound, con-

trolled by the modulation controller (CC1).

Leg, MW, Vel, Port,
Length, VAR 1, VAR 2

Basses Sustain+
Short Mutes

Same as above, played with mutes (con sordino).

Leg, MW, Vel, Port,
Length, VAR 1, VAR

Basses Tremolo

Double bass section played tremolo.

Leg, MW, Vel, Port,
Length, VAR 1, VAR 2

Basses KS

Keyswitch instrument containing all

Basses

instruments

(

C-1

= Sus+short (legato with sustain pedal);

C#-1

Sus+short mutes (legato with sustain pedal);

D-1

= Alter-

nate up- and down-bows;

D#-1

Up-bows;

E-1

= Down-

bows;

F-1

= Pizzicato;

F#-1

= Tremolo mutes (legato with

sustain pedal);

G-1

= Tremolo (legato with sustain pedal);

G#-1

= Half-step trills mutes (legato with sustain pedal);

A-1

= Half step trills (legato with sustain pedal);

A#-1

Whole-step trills mutes (legato with sustain pedal);

B-1

Whole step trills (legato with sustain pedal).

Leg, MW, Vel, Port,
Length, VAR 1, VAR 2, KS,
Alt

Name

Description

Controls

Appendix A: List of instruments

Full Strgs Pizz

Full string section played pizzicato. Velocity controls vol-
ume level and timbre changes (brighter at higher veloci-
ties).

Vel (vol), VAR 1, VAR 2,
Length

Full Strgs Short
Bows KS

Full string section played short bow style, controlled by
velocity. Uses keyswitch for bow direction control (

D-1

alternate bow strokes;

D#-1

= bow stroke 1;

E-1

= bow

stroke 2).

Vel (vol), KS, VAR 1, VAR
2, Length

Full Strgs Sus-
tain+Short

Full string section that combine characteristics of both
long and short bows into single instruments.

Leg, MW, Vel, Port,
Length, VAR 1, VAR 2

Full Strgs Sus-
tain+Short ag

Full Strgs Sustain+Short

instrument with more aggres-

sive sound, controlled by the modulation controller
(CC1).

Leg, MW, Vel, Port,
Length, VAR 1, VAR 2

Full Strgs Sus-
tain+Short Mutes

Same as above, played with mutes (con sordino).

Leg, MW, Vel, Port,
Length, VAR 1, VAR 2

Full Strgs Trem-
olo

Full string section played tremolo.

Leg, MW, Vel, Port,
Length, VAR 1, VAR 2

Full Strgs Trills
Half

Full string section played half-step (semitone) trills.

Leg, MW, Vel, Port,
Length, VAR 1, VAR 2

Full Strgs Trills
Whole

Full string section played whole-step (tone) trills.

Leg, MW, Vel, Port,
Length, VAR 1, VAR 2

Full Strgs KS

Keyswitch instrument containing all

Full Strgs

instru-

ments (

C-1

= Sus+short (legato with sustain pedal);

C#-1

= Sus+short mutes (legato with sustain pedal);

D-1

Alternate up- and down-bows;

D#-1

Up-bows;

E-1

Down-bows;

F-1

= Pizzicato;

F#-1

= Tremolo mutes

(legato with sustain pedal);

G-1

= Tremolo (legato with

sustain pedal);

G#-1

= Half-step trills mutes (legato with

sustain pedal);

A-1

= Half step trills (legato with sustain

pedal);

A#-1

= Whole-step trills mutes (legato with sus-

tain pedal);

B-1

= Whole step trills (legato with sustain

pedal).

Leg, MW, Vel, Port,
Length, VAR 1, VAR 2, KS,
Alt

SOLO STRING INSTRUMENTS

Violin 1 Gagli
Solo

Gagliano solo violin, principal violin. Combines charac-
teristics of both long and short bows.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Violin 1 Gagli KS
Solo

A keyswitch version of the

Violin Gagli Solo

instrument

(

C-1

= Sustain;

C#-1

= Sustain mute;

D-1

= Automati-

cally alternating up and downbows;

D#-1

= Upbows;

E-1

= Downbows;

F-1

= Pizzicato;

F#-1

= Playable tremolo

mute;

G-1

= Playable tremolo;

G#-1

= Playable muted

trills (extended intervals can be chosen with CC16);

A-1

Playable trills (extended intervals can be chosen with
CC16);

A#-1

= Playable whole step muted trills;

B-1

Playable whole step trills).

Leg, MW, Vel, Port, VAR 1,
VAR 2, KS, Alt, Length

Violin 1 Gagli
Plr1*

First player in an ensemble derived from

Violin 1 Gagli

Solo

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Name

Description

Controls

Appendices

Violin 1 Gagli
Plr2*

Second player in an ensemble derived from

Violin 1

Gagli Solo

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Violin 1 Gagli
Plr3*

Third player in an ensemble derived from

Violin 1 Gagli

Solo

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Violin 1 Gagli
Pizz Solo

Gagliano solo violin, played pizzicato. Velocity controls
volume level and timbre changes (brighter at higher veloc-
ities).

Vel (vol), VAR 1, VAR 2,
Length

Violin 2 Strad
Solo

Stradivarius solo violin, Concertmaster. Combines charac-
teristics of both long and short bows.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Violin 2 Strad KS
Solo

A keyswitch version of the

Violin 2 Strad Solo

instru-

ment (

C-1

= Sustain;

C#-1

= Sustain mute;

D-1

= Auto-

matically alternating up and downbows;

D#-1

= Upbows;

E-1

= Downbows;

F-1

= Pizzicato;

F#-1

= Playable trem-

olo mute;

G-1

= Playable tremolo;

G#-1

= Playable muted

trills (extended intervals can be chosen with CC16);

A-1

Playable trills (extended intervals can be chosen with
CC16);

A#-1

= Playable whole step muted trills;

B-1

Playable whole step trills).

Leg, MW, Vel, Port, VAR 1,
VAR 2, KS, Alt, Length

Violin 2 Strad
Plr1*

First player in an ensemble derived from

Violin 2 Strad

Solo

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Violin 2 Strad
Plr2*

Second player in an ensemble derived from

Violin 2

Strad Solo

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Violin 2 Strad
Plr3*

Third player in an ensemble derived from

Violin 2 Strad

Solo

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Violin 2 Strad
Pizz Solo

Stradivarius solo violin, played pizzicato. Velocity controls
volume level and timbre changes (brighter at higher veloc-
ities).

Vel (vol), VAR 1, VAR 2,
Length

Violin 3 Guarn
Solo

Guarneri solo violin, Concertmaster. Combines character-
istics of both long and short bows.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Violin 3 Guarn KS
Solo

A keyswitch version of the

Violin 3 Guarn Solo

instru-

ment (

C-1

= Sustain;

C#-1

= Sustain mute;

D-1

= Auto-

matically alternating up and downbows;

D#-1

= Upbows;

E-1

= Downbows;

F-1

= Pizzicato;

F#-1

= Playable trem-

olo mute;

G-1

= Playable tremolo;

G#-1

= Playable muted

trills (extended intervals can be chosen with CC16);

A-1

Playable trills (extended intervals can be chosen with
CC16);

A#-1

= Playable whole step muted trills;

B-1

Playable whole step trills).

Leg, MW, Vel, Port, VAR 1,
VAR 2, KS, Alt, Length

Violin 3 Guarn
Plr1*

First player in an ensemble derived from

Violin 3 Guarn

Solo

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Violin 3 Guarn
Plr2*

Second player in an ensemble derived from

Violin 3

Guarn Solo

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Violin 3 Guarn
Plr3*

Third player in an ensemble derived from

Violin 3 Guarn

Solo

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Name

Description

Controls

Appendix A: List of instruments

Violin 3 Guarn
Pizz Solo

Guarneri solo violin, played pizzicato. Velocity controls
volume level and timbre changes (brighter at higher veloc-
ities).

Vel (vol), VAR 1, VAR 2,
Length

Viola Solo

18th century solo viola, principal viola. Combines charac-
teristics of both long and short bows.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Viola KS Solo

A keyswitch version of the

Viola Solo

instrument (

C-1

Sustain;

C#-1

= Sustain mute;

D-1

= Automatically alter-

nating up and downbows;

D#-1

= Upbows;

E-1

= Down-

bows;

F-1

= Pizzicato;

F#-1

= Playable tremolo mute;

G-1

= Playable tremolo;

G#-1

= Playable muted trills

(extended intervals can be chosen with CC16);

A-1

Playable trills (extended intervals can be chosen with
CC16);

A#-1

= Playable whole step muted trills;

B-1

Playable whole step trills).

Leg, MW, Vel, Port, VAR 1,
VAR 2, KS, Alt, Length

Viola Plr1*

First player in an ensemble derived from

Viola Solo

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Viola Plr2*

Second player in an ensemble derived from

Viola Solo

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Viola Plr3*

Third player in an ensemble derived from

Viola Solo

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Viola Pizz Solo

Solo viola, played pizzicato. Velocity controls volume level
and timbre changes (brighter at higher velocities).

Vel (vol), VAR 1, VAR 2,
Length

Cello 1 Solo

Vuillaume solo cello, principal cello. Combines character-
istics of both long and short bows.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Cello 1 KS Solo

A keyswitch version of the

Cello 1 Solo

instrument (

C-1

= Sustain;

C#-1

= Sustain mute;

D-1

= Automatically

alternating up and downbows;

D#-1

= Upbows;

E-1

Downbows;

F-1

= Pizzicato;

F#-1

= Playable tremolo

mute;

G-1

= Playable tremolo;

G#-1

= Playable muted

trills (extended intervals can be chosen with CC16);

A-1

Playable trills (extended intervals can be chosen with
CC16);

A#-1

= Playable whole step muted trills;

B-1

Playable whole step trills).

Leg, MW, Vel, Port, VAR 1,
VAR 2, KS, Alt, Length

Cello 1 Plr1*

First player in an ensemble derived from

Cello 1 Solo

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Cello 1 Plr2*

Second player in an ensemble derived from

Cello 1 Solo

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Cello 1 Plr3*

Third player in an ensemble derived from

Cello 1 Solo

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Cello 2 Solo

Montagnana solo cello, principal cello. Combines charac-
teristics of both long and short bows.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Name

Description

Controls

Appendices

Cello 2 KS Solo

A keyswitch version of the

Cello 2 Solo

instrument (

C-1

= Sustain;

C#-1

= Sustain mute;

D-1

= Automatically

alternating up and downbows;

D#-1

= Upbows;

E-1

Downbows;

F-1

= Pizzicato;

F#-1

= Playable tremolo

mute;

G-1

= Playable tremolo;

G#-1

= Playable muted

trills (extended intervals can be chosen with CC16);

A-1

Playable trills (extended intervals can be chosen with
CC16);

A#-1

= Playable whole step muted trills;

B-1

Playable whole step trills).

Leg, MW, Vel, Port, VAR 1,
VAR 2, KS, Alt, Length

Cello 2 Plr1*

First player in an ensemble derived from

Cello 2 Solo

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Cello 2 Plr2*

Second player in an ensemble derived from

Cello 2 Solo

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Cello 2 Plr3*

Third player in an ensemble derived from

Cello 2 Solo

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Cello 3 Solo

Gofriller solo cello, principal cello. Combines characteris-
tics of both long and short bows.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Cello 3 KS Solo

A keyswitch version of the

Cello 3 Solo

instrument (

C-1

= Sustain;

C#-1

= Sustain mute;

D-1

= Automatically

alternating up and downbows;

D#-1

= Upbows;

E-1

Downbows;

F-1

= Pizzicato;

F#-1

= Playable tremolo

mute;

G-1

= Playable tremolo;

G#-1

= Playable muted

trills (extended intervals can be chosen with CC16);

A-1

Playable trills (extended intervals can be chosen with
CC16);

A#-1

= Playable whole step muted trills;

B-1

Playable whole step trills).

Leg, MW, Vel, Port, VAR 1,
VAR 2, KS, Alt, Length

Cello 3 Plr1*

First player in an ensemble derived from

Cello 3 Solo

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Cello 3 Plr2*

Second player in an ensemble derived from

Cello 3 Solo

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Cello 3 Plr3*

Third player in an ensemble derived from

Cello 3 Solo

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Cello Pizz Solo

Solo cello, played pizzicato. Velocity controls volume level
and timbre changes (brighter at higher velocities).

Vel (vol), VAR 1, VAR 2,
Length

Dbl Bass Solo

18th century solo double bass. Principal. Combines char-
acteristics of both long and short bows.

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Dbl Bass KS Solo

A keyswitch version of the

Dbl Bass Solo

instrument (

C-

= Sustain;

C#-1

= Sustain mute;

D-1

= Automatically

alternating up and downbows;

D#-1

= Upbows;

E-1

Downbows;

F-1

= Pizzicato;

F#-1

= Playable tremolo

mute;

G-1

= Playable tremolo;

G#-1

= Playable muted

trills (extended intervals can be chosen with CC16);

A-1

Playable trills (extended intervals can be chosen with
CC16);

A#-1

= Playable whole step muted trills;

B-1

Playable whole step trills).

Leg, MW, Vel, Port, VAR 1,
VAR 2, KS, Alt, Length

Dbl Bass Plr1*

First player in an ensemble derived from

Dbl Bass Solo

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Name

Description

Controls

Appendix A: List of instruments

Dbl Bass Plr2*

Second player in an ensemble derived from

Dbl Bass

Solo

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Dbl Bass Plr3*

Third player in an ensemble derived from

Dbl Bass Solo

Leg, MW, Vel, Port, VAR 1,
VAR 2, Length

Dbl Bass Pizz
Solo

Solo double bass, played pizzicato. Velocity controls vol-
ume level and timbre changes (brighter at higher veloci-
ties).

Vel (vol), VAR 1, VAR 2,
Length

Name

Description

Controls

Appendices

Appendix B:

Percussion instrument mappings

Listed below are the MIDI pitches used for each unpitched percussion sound in
GPO’s percussion instruments. Plug these values into the

Use MIDI pitch

option

in the

Edit Staff Type

dialog when modifying existing GPO percussion staff types

or creating your own (see

Creating your own percussion staff types

on page

41).

Bass Drum KS

Keyswitches:

C–1

: Hits full decay

D–1

: Hits hand dampened

Snares KS

Keyswitches:

C–1

: Alternate hits (left- and right- hand)

D–1

: Left-hand hits only

E–1

: Right-hand hits only

F–1

: Roll 1 (controlled by modulation wheel)

MIDI pitch

Description

Bass drum hit

Bass drum roll (controlled by modulation wheel)

MIDI pitch

Description

Side drum hit (left hand)

Side drum hit (right hand)

Side drum roll (controlled by modulation wheel)

Keyswitch (left/right hits, left hand, right hand, roll)

Appendix B: Percussion instrument mappings

Timpani KS

Keyswitches:

C–1

: Hits full decay

D–1

: Hits hand dampened

Cymbals KS

Keyswitches:

C–1

: Alternate pings (left- and right- hand)

D–1

: Left-hand pings only

E–1

: Right-hand pings only

F–1

: Roll 1 (controlled by modulation wheel)

G–1

: Roll 2 (controlled by modulation wheel; not directly supported)

MIDI pitch

Description

–

Timpani hits (left hand)

–

Timpani hits (right hand)

MIDI pitch

Description

Large gong

Medium gong 1

Tam tam

Medium gong 2

Piatti cymbal 1

Piatti cymbal 2

Piatti cymbal 3

Crash cymbal

Choke cymbal

Keyswitch (left/right ping, left only, right only, roll 1, roll 2)

Appendices

Percussion Toys

MIDI pitch

Description

Cowbell 1

Cowbell 2

Cowbell 3

Gourd 1

Gourd 2

Shaker 1

Shaker 2

Tambourine pop

Tambourine shake

Castanet hit

D#5

Castanet roll

Clave 1

Clave 2

Ratchet

Sleigh bells

Mark tree

Triangle short (add sustain pedal or

~C64,127

for dampened)

Triangle long (add sustain pedal or

~C64,127

for dampened)

Appendix B: Percussion instrument mappings

Basic Orchestral Percussion

Keyswitches:

C–1

: Alternate hits (left- and right- hand)

D–1

: Left-hand hits only

E–1

: Right-hand hits only

MIDI pitch

Description

Bass drum hit

Bass drum roll (controlled by modulation wheel)

D3–G4

Timpani hit (left hand)

Side drum hit (left hand)

Side drum hit (right hand)

Side drum roll (controlled by modulation wheel)

Snare drum keyswitch (left/right hit, left only, right only)

Large gong

Medium gong 1

Tam tam

Medium gong 2

Piatti cymbal 1

Piatti cymbal 2

Piatti cymbal 3

Crash cymbal

Choke cymbal

Cymbal keyswitch (left/right ping, left only, right only)

Cymbal roll crescendo

Triangle long

Triangle short

Appendices

License Agreement

License Agreement

By installing or using any component of the Software, or by registering the Product, you (an
individual or legal entity) agree with the Licensor to be bound by the terms of this License
which will govern your use of the Product. If you do not accept these terms you may within
14 days of purchase return the Product, its packaging and documentation unused and intact
to your supplier together with dated proof of purchase for a full refund.

DEFINITIONS

In this License the following words and expressions have the following meanings:

“Documentation”:

any documentation relating to the Software supplied to you in any form by the Licensor or with
the Software.

“License”:

this agreement between you and the Licensor and, if permitted by the context, the conditional
license granted to you in this agreement.

“Licensor”:

Sibelius Software Limited, an English company (registered no. 3338819) of The Old Toy Factory,
20-22 City North, Fonthill Road, London N4 3HF, UK.

“Product”:

the Software and the Documentation.

“Software”:

Kontakt Gold, Garritan Personal Orchestra Sibelius Edition or Sibelius Rock & Pop Collection (as
applicable); its installer; and any other programs or files supplied to you with or for use with it.

License

2.1 (1) The Licensor grants to you a non-exclusive non-transferable license to use the Software in accordance with the Doc-

umentation, subject to the terms of any discount, offer or scheme which the Product may have been obtained under.
Some components of the Software may be subject to separate license agreements which you will need to agree to in
order to use them.

(2) You may install the Software on a single computer. You may also install a second copy on one additional computer, pro-

vided that you ensure that you are the only person who uses the Software on either computer, that you own legitimate
registered copies of Sibelius 3 or later which are installed on both computers, and that the Software is never used on
both computers simultaneously.

(3) Title to the Product is not transferred to you. Ownership of the Product remains vested in the Licensor and its licensors,

subject to the rights granted to you under this License. All other rights are reserved.

(4) If the Software was supplied as an upgrade or update from an earlier version, the license to use that earlier version is

hereby terminated.

2.2 You may make one printout for your own use of any part of the Documentation provided in electronic form. You shall

not make or permit any third party to make any further copies of any part of the Product whether in eye or machine-
readable form.

2.3 You shall not, and shall not cause or permit any third party to, translate, enhance, modify, alter, adapt or create deriva-

tive works based on the Product or any part of it for any purpose (including without limitation for the purpose of error
correction), or cause the whole or any part of the Product to be combined with or incorporated into any other program,
file or product for any purpose, except as expressly permitted by the Documentation.

2.4 You shall not, and shall not cause or permit any third party to, decompile, decode, disassemble or reverse engineer the

Software in whole or in part for any purpose.

2.5 The Product or any part of it must not be used to infringe any right of copyright or right of privacy, publicity or person-

ality or any other right whatsoever of any other person or entity.

Copyright

3.1 You acknowledge that copyright in the Product as a whole and in the components of the Product as between you and the

Licensor belongs to the Licensor or its licensors and is protected by copyright laws, national and international, and all
other applicable laws. Further details of the ownership of all copyright in the components of the Product are set out in
the Product.

Liability of the Licensor

4.1 The Licensor warrants that the Product will be free from defects in materials and workmanship and perform substan-

tially in accordance with the Documentation under normal use for a period of 90 days after the date of original pur-
chase (the “Warranty Period”). If a defect in the Product shall occur during the Warranty Period, the Product may be

Garritan Personal Orchestra Sibelius Edition User Guide

returned with dated proof of purchase to the Licensor who will at its sole discretion either return the price paid or
repair or replace it free of charge.

4.2 The Licensor shall not be liable for any claim arising from:

(1) any failure or malfunction resulting wholly or to any material extent from your negligence, operator error, use other

than in accordance with the Documentation or any other misuse or abuse of the Product;

(2) any loss of or corruption to any data, however caused, where such loss or corruption could have been avoided or cor-

rected or substantially reduced if you had taken and retained in a secure place appropriate backup copies;

(3) the decompilation or modification of the Software or its merger with any other program or any maintenance repair

adjustment alteration or enhancement of the Software by any person other than the Licensor or its authorized agent;

(4) the failure by you to implement recommendations previously advised by the Licensor in respect of, or solutions for

faults in, the Product;

(5) any loss or damage whatsoever resulting from any omissions or inaccuracies in any information or data contained in the

Product.

(6) Except as otherwise expressly provided in Section 4.1, all conditions, warranties, terms representations and undertak-

ings express or implied, statutory or otherwise in respect of the Product are hereby expressly excluded.

(7) Except as expressly provided in Section 4.1, the Licensor shall have no liability to you for loss of profits, revenue or

goodwill or any type of special, indirect or consequential loss (including loss or damages suffered by you as a result of
an action brought by a third party) whether such loss is caused by the Licensor's breach of its contractual obligations
hereunder or any negligence or other tortious act or omission.

(8) The Licensor's entire liability for breach of its covenants and warranties in this License and for any defect or errors in

the Product shall (except as expressly provided in Section 4.1) be limited to the price paid by you for the Product.

Termination

5.1 This License shall terminate automatically upon your destruction of the Product. In addition, the Licensor may elect to

terminate this License in the event of a material breach by you of any condition of this License or of any of your repre-
sentations, warranties, covenants or obligations hereunder. Upon notification of such termination by the Licensor, you
will immediately delete all copies of the Software from your computer(s), destroy any other copies of the Product or any
part thereof, and return the Product to the Licensor.

Miscellaneous

6.1 No failure to exercise and no delay in exercising on the part of the Licensor of any right, power or privilege arising here-

under shall operate as a waiver thereof, nor shall any single or partial exercise of any right, power or privilege preclude
any other or further exercise thereof or the exercise of any other right, power or privilege. The rights and remedies of
the Licensor in connection herewith are not exclusive of any rights or remedies provided by law.

6.2 You may not distribute, loan, sub-license, rent, lease (including without limitation renting or leasing a computer on

which the Product is installed) or otherwise transfer the Product to any third party without the Licensor's prior written
consent, which the Licensor may grant, condition or withhold in the Licensor's sole discretion.

6.3 You agree to provide accurate personal data when registering the Product and to the use of this data in accordance with

the Licensor's privacy policy (available from the Licensor or on www.sibelius.com) which may change from time to
time.

6.4 This License is intended by the parties hereto to be a final expression of their agreement with respect to the subject mat-

ter hereof and a complete and exclusive statement of the terms of such agreement. This License supersedes any and all
prior understandings, whether written or oral, between you and the Licensor relating to the subject matter hereof.

6.5 (This section only applies if you are resident in the European Union:) This License shall be construed and governed by

the laws of England, and both parties agree to submit to the exclusive jurisdiction of the English courts.

6.6 (This section only applies if you are not resident in the European Union:) This License shall be construed and enforced

in accordance with and governed by the laws of the State of California. Any suit, action or proceeding arising out of or
in any way related or connected to this License shall be brought and maintained only in the United States District Court
for the Northern District of California, sitting in the City of San Francisco. Each party irrevocably submits to the juris-
diction of such federal court over any such suit, action or proceeding. Each party knowingly, voluntarily and irrevocably
waives trial by jury in any suit, action or proceeding (including any counterclaim), whether at law or in equity, arising
out of or in any way related or connected to this License or the subject matter hereof.

(License version 19 Oct 2005)

Document Outline

Introduction
Installation on Windows
Installation on Mac OS X
Technical help
- How to get help
Getting started
Advanced use
Appendices

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