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4.3 Sibelius Sounds Essentials

4.3 Sibelius Sounds Essentials

b 4.1 Playback, 4.2 Mixer, 4.4 Performance, 8.13 Exporting audio files.
v Kontakt Player.

Sibelius comes with Sibelius Sounds Essentials, a high-quality sound library consisting of a com-
plete set of 128 General MIDI sounds from M-Audio Session, together with carefully chosen instru-
ments from Sibelius Sounds Rock and Pop Collection, the award-winning Garritan Personal
Orchestra, Garritan Concert & Marching Band and Garritan Jazz and Big Band, and Tapspace’s
Virtual Drumline. The result is a versatile collection of sounds well-suited for every genre of music.
Sibelius Sounds Essentials requires Kontakt Player 2, a virtual instrument from Native Instru-
ments that is included with Sibelius. Kontakt Player 2 is a sophisticated sample player and can be
used with a wide variety of sample libraries, including those in the Sibelius Sounds range, and
those produced by Garritan, Tapspace and other vendors.

You can add further sound libraries for use with Kontakt Player 2 in Sibelius, including the full
versions of all of the sound libraries from which the sounds in Sibelius Sounds Essentials are
taken. Choose Help > Sibelius Sounds to be taken to our web site for more information.

Computer requirements
Kontakt Player 2 has similar computer requirements to Sibelius 5 – for details refer to Installing
Sibelius for Windows or Installing Sibelius for Mac in the Handbook.
Be aware that sound libraries can take up a large amount of hard disk space, so ensure that you
have plenty available, and that loading many sounds simultaneously requires more RAM. See
How to get the best out of virtual instruments and effects on page 305 for advice
applicable both to Kontakt Player 2 and other virtual instruments.

Installing Sibelius Sounds Essentials

To install Sibelius Sounds Essentials and Kontakt Player 2, refer to Installing Sibelius for
Windows or Installing Sibelius for Mac in the Handbook.

Setting up Sibelius Sounds Essentials

To play back your scores using Sibelius Sounds Essentials:
* Choose Play > Playback Devices
* From the Configuration menu at the bottom of the dialog, choose Sibelius Sounds Essentials.
* Wait a few moments while Kontakt Player 2 is loaded. You should then see KontaktPlayer2 in
the Active devices list on the right-hand side of the Active Devices page of the dialog. Sound
set will be set to Sibelius Sounds Essentials.
* Click Close.

When you start playback of your score, Sibelius will load the necessary sounds automatically into
Kontakt Player 2 (you will see a series of progress bars on the screen as each sound is loaded),
which normally takes only a few seconds, and the score will then start to play back.

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How Kontakt Player 2 works
In order to get the best out of Kontakt Player 2, you need to know a little about the way it works.
Kontakt Player 2 can play up to 16 different sounds at once, with each sound loaded into one of
the 16 available slots, which are like MIDI channels.
At its simplest, this means that it can play back scores with up to 16 different instruments in them
without making any compromises.
However, a staff in your score may potentially use more than one sound due to things like instru-
ment changes (e.g. if a staff starts out as a clarinet, but later changes to a saxophone sound) or
changes in playing technique (e.g. if a violin staff starts arco but later plays pizzicato), which may
increase the total number of sounds used in your score above 16, depending on whether or not
Sibelius can play the sounds using the same slot.
Sounds can share a slot if they are accessed by a switch, meaning that Sibelius can either play a
specific note to trigger a change in sound (known as a keyswitch) or set a MIDI controller to a spe-
cific value, or play a note at a certain velocity, and so on. Several of the sounds in Sibelius Sounds
Essentials work this way: for example, the violins from Garritan Personal Orchestra can switch
between arco and pizzicato by way of keyswitches, and the trumpet from Garritan Jazz and Big
Band can switch between normal and muted playing in the same way.
If you need to change to a completely different sound – e.g. from clarinet to saxophone – this nor-
mally requires an extra slot.
What this means in practice is that, if your score uses more than 16 instruments in total, Sibelius
will make some compromise decisions for you about how best to play it back. For staves that are
in the same instrumental family (e.g. woodwind, brass, strings) it will double up staves onto the
same slot so that they all use the same sound – so you may end up with clarinets, oboes and bas-
soons all playing back with (say) a bassoon sound.
If your score requires more than 16 different instruments, you can activate further instances
(copies) of Kontakt Player 2 to avoid Sibelius sharing sounds:
* Choose Play > Playback Devices and go to the Active Devices page
* Select KontaktPlayer2 in the Available devices list and click Activate
* Wait a few moments while Kontakt Player 2 is loaded. Once it appears in the Active devices
list, ensure that the Sound set column is set to Sibelius Essentials.
* Click Save to save the changes to your configuration, then click Close.

Sibelius will automatically make use of as many instances of Kontakt Player 2 as you make avail-
able. Each instance, however, adds to the burden on your computer, so you should only use more
than one Kontakt Player 2 if your computer is fast enough and has enough memory.

Kontakt Player 2 window

You won’t normally need to adjust the settings in the Kontakt Player 2 window directly, because
Sibelius automatically loads the required sounds, and automatically sets up reverb. Indeed, many
of the settings in the Kontakt Player 2 window (e.g. the controls on individual instruments, such
as individual brightness, attack or reverb knobs) cannot be saved, so in general it is preferable not

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4.3 Sibelius Sounds Essentials

to adjust them directly via the interface. Some of these parameters can be controlled instead by
MIDI controller messages (b 4.13 MIDI messages), so use these wherever possible.
However, should you want to take a look at the Kontakt Player 2 window while working on a
score, open the Mixer window (shortcut Ctrl+Alt+M or M), then click the “show interface” but-
ton (which looks like this: ), and this window will appear:

Main control panel


Instrument rack




Instrument rack
The large area near the top right-hand side of the Kontakt Player 2 window is the instrument rack,
where the controls for each loaded sound can be adjusted.

Notice the buttons at the top right-hand corner of the rack. The numeric buttons allow you to
choose between the four parts of the rack. In theory this allows you to load up to 64 instruments
into the same instance of Kontakt Player 2, but only the first 16 slots are accessible via a host like
Sibelius, so you won’t need to press these buttons.
The Aux button shows or hides the auxiliary send faders for each instrument – see Outputs below.
Each loaded instrument has its own set of controls; you can open or close the bottom half of the
panel by clicking the button at the left-hand side. Different instruments provide different con-
trols. In general you should control the instruments using Sibelius’s Mixer window rather than
the controls in Kontakt Player 2’s instrument rack.

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Main control panel
The main control panel at the top of the window allows you to hide and show the other elements
of the Kontakt Player 2 window.

The Browser, Outputs, Keyboard, MasterKontrol and Options elements are all described in
detail below.
Clicking Load/Save shows a menu allowing you to load and save instruments and multis (a
“multi” is a combination of instruments, effects and other settings that you can load or save).
However, since Sibelius automatically loads the sounds you need, there’s no need to use these
The options in the Purge menu can be used to unload unused samples from RAM. After playing
back your score, you can purge the samples that weren’t played in order to reduce the amount of
RAM used. Note, however, that if you subsequently change the notes in your score, the samples
required to play them may have been purged, in which case you will need to choose Reload All
Samples from the Purge menu.
The View menu allows you to make the Kontakt Player 2 window Normal Size, Bigger Size or
Large Size. You can normally leave the window at Normal Size.
The system performance meters show the following, clockwise from top
* Notes: the amount of polyphony being used. The left-hand digit
shows the current number of notes being played; the right-hand digit shows the maximum
amount of polyphony.
* CPU: shows how much processor power is being used by Kontakt Player 2; more illuminated
bars indicate greater CPU usage.
* Disk: shows how much disk access Kontakt Player 2 is doing; streaming more data from disk
illuminates more bars.
* RAM: indicates how much memory is being taken up by the samples used by Kontakt Player 2.

The button at the far right of the control panel switches on Instrument Focus view, in
which the window size is reduced to focus on the currently chosen instrument, hiding all
other elements. Click the button again to restore the window to its normal size.

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4.3 Sibelius Sounds Essentials

On the left-hand side of the window is the Browser. It has three tabs,
Libraries, Engine and Auto.
The Libraries tab allows you to see the details of all the Kontakt Player 2
libraries you have installed. You will see at least Sibelius Sounds
Essentials listed here.
Some sound libraries require authorization in order to use them for
longer than 30 days. You can see the authorization status of an installed
library by its title. If a small yellow caution icon appears to the left of
the library’s name, then it has not yet been authorized, and will stop
functioning within 30 days if it is not authorized.
If you see a red caution icon , then the library’s grace period has
expired, and you must authorize it to continue using it.
To authorize a library, click the library’s Info button, then choose the
Register tab in the dialog and click Launch Service Center to run the

separate NI Service Center application. You can then simply authorize your libraries over the
Sibelius Sounds Essentials, however, does not require authorization, because it can be used only
within Sibelius.
The Instruments and Multis buttons in each library’s panel allow
you to see a list of all the instruments and multis contained within it.
Choose an instrument from the menu to load it – though you don’t
need to do this, because Sibelius loads the instruments for you. Click
Info to show a dialog that provides information about the library.
The Engine tab in the Browser shows real-time information about the performance of the sam-
pling engine, and the Automation tab allows you to assign various types of MIDI automation to
various controls in Kontakt Player 2; you don’t need to know anything about this except that you
should leave it set to Host Automation.

There are two types of faders in Kontakt Player 2’s Outputs panel:

Each blue fader represents a stereo output. Sibelius can only address a single output from each
virtual instrument, so you can only route your instruments through the first stereo output, labeled
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st. 1. The orange faders (labeled aux. 1 to aux. 4) control the return from the four send effects.
By default, Sibelius loads reverb and chorus effects into the first and second auxiliary return out-
puts respectively.
You can’t usefully add or remove channels, so you can ignore the Add Channel and Delete
Channel buttons. The Hide Inserts button hides the insert effects to conserve space. You can edit
the parameters of a specific effect by selecting it in the list of inserts above the appropriate bus,
then click Edit Effect.
If you make any changes to the outputs and want to save them as your defaults for the future, click
Make Default.

The Keyboard panel displays an on-screen keyboard:

Blue tinted keys show you notes that will play back a sound; red tinted keys show you notes that
trigger keyswitches. You can click on the keys with a mouse to audition the selected sound, but
you can’t input notes into the score by clicking on Kontakt Player 2’s keyboard.

The MasterKontrol panel allows you to adjust some settings that apply to all instruments:

If you want to change the tuning, adjust Master Tune from its default of 440Hz.
You don’t need to worry about the Extern Sync, tempo or Reference Tone features, as they have
no practical use in Sibelius.

The Options button in the main control panel displays a dialog with six tabs. On the whole you
don’t need to worry about these options, but let’s run them down quickly anyway:
* Interface tab:
% You can adjust the pixel dimensions of Small size, Mid size, Big size from the controls here.
% Capture keyboard from host should be switched off; when switched on, this option traps
keypresses from Sibelius and passes them to Kontakt Player 2.
% Capture mouse from host should be switched off; this option traps mouse wheel move-
ments from Sibelius and passes them to Kontakt Player 2.
% Show mapping and keyswitches on keyboard is switched on by default; when switched
off, the keys on the keyboard won’t show blue or red tints.
% Auto-refresh Browser is switched off by default; when switched on, Kontakt Player 2 auto-
matically detects from the operating system if a library folder is changed or created. You can
safely leave this option switched off.
% Menu font size allows you to choose between Normal and Larger size text.

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* Audio Engine tab:
% You can choose whether the default volume for new instruments should be -6dB or 0dB. We
recommend you leave this set to -6dB.
% CPU overload protection determines how Kontakt Player 2 should deal with high CPU
usage. If CPU usage stays at a high level, Kontakt Player 2 will kill off sounding notes to
reduce the polyphony and therefore reduce processor usage. We recommend you leave this
set to Relaxed.
% Multiprocessor support should be switched on if your computer has multiple processors or
a dual- or quad-core processor.
% Send MIDI to outside world determines whether Kontakt Player 2 sends the MIDI data
generated to the host application. We recommend you do not change this setting.
% Offline interpolation quality allows you to adjust the quality of the audio when exporting
an audio track. High-Quality Interpolation (HQI) helps to eliminate digital aliasing sounds
which become particularly audible when you transpose sounds with significant high fre-
quency content upwards. You don’t generally need to adjust the default setting, which is
same as real-time, i.e. the same quality as you hear during normal playback.

* Handling tab:
% Switch on Use computer keyboard for MIDI playback to allow your computer’s keyboard
to trigger sounds in Kontakt Player 2. Normally you should leave this switched off.
% Solo Mode allows you to choose between Solo In-Place (only one instrument can be soloed,
others are muted) and Solo Latch (you can switch several instruments into solo mode).
% Browser: double-click loads instrument is switched on by default; when you double-click
an instrument in the browser, it is loaded.
% Browser: show files before folders is switched on by default; it allows you to change the
sort order of files and folders in the browser.
% Default root key for new zones specifies the default root key for instruments that aren’t
supplied with this information.
% MIDI channel assignment for loaded patches allows you to specify whether Kontakt
Player 2 should load each new sound onto the 1st free channel or have them accept MIDI on
all channels (omni). You don’t need to change this setting.
% Installation base path is the folder in which Kontakt Player 2 was originally installed. You
should avoid moving this folder, but if you do, you can respecify it here.
* Load/Import tab:
% Load instruments/banks/multis in “purged mode” reloads the parameters of samples
that were purged, but without the sample data itself. Leave this option switched off.
% Force-load pre-2.0 patches in DFD mode forces the engine to use Direct From Disk
(DFD) streaming even for old patches that were not originally set to use it.
% Unwind automation IDs for additionally loaded patches is an obscure option assign-
ment of automation to the same sound loaded into several slots. Just leave it switched off.
% Library path is the place where user-tweaked instruments and combination multis are

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* The Search/DB tab specifies options concerning Kontakt Player 2’s search functions. You don’t
need to concern yourself with these.
* The DFD tab allows you to specify the amount of memory to dedicate to Direct From Disk
(DFD) streaming. Although samples stream from disk, it is necessary to store their attacks in
RAM so that they are available instantly during playback. If DFD isn’t working properly, try
allocating more RAM to Amount of memory for DFD.

Included sounds
The sounds included with Sibelius Sounds Essentials are as follows:
Name Techniques/instruments Range
From Garritan Personal Orchestra
Violins 1 KS Keyswitches: arco (C–1); pizzicato (F–1) G3 to A8
Violas KS Keyswitches: arco (C–1); pizzicato (F–1) C3 to A6
Cellos KS Keyswitches: arco (C–1); pizzicato (F–1) C2 to E6
Double Basses KS Keyswitches: arco (C–1); pizzicato (F–1) C0 to G4
Guarneri Solo Violin KS Keyswitches: arco (C–1); pizzicato (F–1) G3 to C8
Piccolo D5 to C8
Flute Solo B3 to D7
Oboe 1 Modern Solo Bb3 to A6
Bb Clarinet Solo C#3 to G#6
Bass Clarinet Solo Bb1 to F5
Bassoon 1 Solo Bb1 to E5
French Horn Solo 1 E1 to F5
Trumpet 1 Solo C3 to F6
Tenor Trombone Solo E1 to F5
Tuba 1 Solo Bb0 to B4
Basic Orchestral Percussion Bass drum hit (B1); Bass drum hit 2 (C2), Bass drum roll (C#2); Tim-
pani hit (D2–G3); Side drum hit, snares off, left (G#3); Side drum hit,
snares off, right (A3); Side drum hit, snares off, roll (A#3); Side drum
hit, snares on, left (B3); Side drum hit, snares on, right (C4); Side
drum hit, snares on, roll (C#4)
From Garritan Jazz and Big Band
Trumpet Keyswitches: open (C–1); harmon mute (F–1) E3 to Bb6
Alto Saxophone C#3 to F6
Tenor Saxophone G#2 to C6
Baritone Saxophone C2 to C6
From Garritan Concert & Marching Band
Trumpet Ensemble E3 to Bb6
Mellophone Ensemble Bb1 to F5
Baritone Ensemble E2 to F5
Tuba Ensemble Bb1 to F4
Trombone Ensemble E1 to F5

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Name Techniques/instruments Range

From Tapspace Virtual Drumline 2
Marching Snares (Manual) All with snares on: sustained roll (E6); RH hits (G#5); LH hits (F#5);
RH shots (G5); LH shots (F5); RH rims (Eb5); LH rims (Db5); ride
cymbal (E3); bell of ride cymbal (D3); cymbal crash (C3)
Marching Snares (Auto RL) All with snares on, automatic RL switching: sustained roll (B5); rim
shots (C5); main hits (B4); rims (A4); ride cymbal (E3); bell of ride
cymbal (D3); cymbal crash (C3)
Marching Tenor Drums (Manual) Spock 1 RH Hits (E5); Spock 1 LH Hits (Eb5); Spock 2 RH Hits (D5);
Spock 2 LH Hits (Db5); Drum 1 RH Hits (C5); Drum 1 LH Hits (B4);
Drum 2 RH Hits (Bb4); Drum 2 LH Hits (A4); Drum 3 RH Hits (Ab4);
Drum 3 LH Hits (G4); Drum 4 RH Hits (F#4); Drum 4 LH Hits (F4);
Sustained buzz roll spock 1 (Bb3); Sustained buzz roll spock 2 (A3);
Sustained buzz roll drum 1 (Ab3); Sustained buzz roll drum 2 (G3);
Sustained buzz roll drum 3 (F#3); Sustained buzz roll drum 4 (F3);
Spock 1 RH shot/rim (E3); Spock 1 LH shot/rim (Eb3); Spock 2 RH
shot/rim (D3); Spock 2 LH shot/rim (Db3); Drum 1 RH shot/rim (C3);
Drum 1 LH shot/rim (B2); Drum 2 LH shot/rim (Bb2); Drum 2 RH
shot/rim (A2); Drum 3 RH shot/rim (Ab2); Drum 3 LH shot/rim (G2);
Drum 4 RH shot/rim (F#2); Drum 4 LH shot/rim (F2)

Marching Tenor Drums (Auto RL) Automatic RL switching: Spock 2 shots/rims (Db6); Spock 2 hits (B5);
Spock 1 shots/rims (Ab5); Spock 1 hits (G5); Drum 1 shots/rims (Gb5);
Drum 1 hits (E5); Drum 2 shots/rims (Db5); Drum 2 hits (C5); Drum 3
shots/rims (Bb4); Drum 3 hits (A4); Drum 4 shots/rims (F#4); Drum 4
hits (F4); Roll Spock 2 sustained buzz (A3); Roll Spock 1 sustained
buzz (F3); Roll Drum 1 sustained buzz (D3); Roll Drum 2 sustained
buzz (B2); Roll Drum 3 sustained buzz (G2); Roll Drum 4 sustained
buzz (E2)
Marching Bass Drums (Manual) Drum 1 RH hits (E5); Drum 1 LH hits (Eb5); Drum 2 RH hits (D5);
Drum 2 LH hits (C#5); Drum 3 RH hits (C5); Drum 3 LH hits (B4);
Drum 4 RH hits (Bb4); Drum 4 LH hits (A4); Drum 5 RH hits (Ab4);
Drum 5 LH hits (A4); Drum 5 RH hits (Ab4); Drum 5 LH hits (G4);
Drum 6 RH hits (F#4); Drum 6 LH hits (F4); Unison RH hits (E4); Uni-
son LH hits (Eb4); Unison RH rims (D4); Unison LH rims (C#4); Uni-
son sustained roll (Ab3)
Marching Bass Drums (Auto RL) Automatic RL switching: Unison sustained roll (B6); Drum 1 hits (G5);
Drum 2 hits (E5); Unison rims (D5); Drum 3 hits (C5); Unison hits
(B4); Drum 4 hits (A4); Drum 5 hits (F4); Drum 6 hits (D4)
Marching Cymbals Unison cymbal section: hi hat choke (Bb5); sizzle/suck A (C#5); sizzle
(D5); vacuum suck (C5); crash choke fat (B4); flat crash (Bb4)
Unpitched Concert Percussion Brake drum RL (C7); wind chimes (B6); Finger cymbal (A6); Triangle
roll (G6); Triangle hit sustain/muted (F6); Bell plate (E6); Suspended
cymbal cresc. mp (D6); Suspended cymbal cresc. f (C6); Suspended
cymbal crash (B5); Suspended cymbal crash choke (A5); Suspended
cymbal w/stick tip (ride) (G5); Hand cymbals choke (F5); Hand cym-
bals crash (E5); Concert snare drum roll (D5); Concert snare drum
hits RL (C5); Tambourine fist hits (B4); Tambourine roll shaken (A4);
Tambourine thumb roll (G4); Tambourine finger hits RL (F4); Tem-
ple block high RL (E4); Temple block med-high RL (D4); Temple
block med RL (C4); Temple block med-low RL (B3); Temple block low
RL (A3); Concert tom high RL (G3); Concert tom med-high RL (F3);
Concert tom med-low RL (E3); Concert tom low RL (D3); Impact
drum hits RL (C3); Tam-tam hit p (B2); Tam-tam hit f (A2); Concert
bass drum roll (G2); Concert bass drum hit RL (F2)
Marimba C2 to C7

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Name Techniques/instruments Range

Vibraphone Sustain; Damped F3 to F6
Xylophone F3 to C7
Glockenspiel F3 to C6
Crotales (one octave) C4 to C5
Chimes C4 to G5
Timpani C2 to C4
From Sibelius Sounds World Instruments (sounds from Garritan)
Ewe Drum Ensemble Sounds are on white notes only C2 to B4
Djembe Ensemble Sounds are on white notes only C3 to C4
From other providers
Steinway piano (Peter Siedlaczek) A0 to C8
Recorder (Northstar) A0 to C8
Harp (Northstar) C–1 to G9
Handbells (Northstar) C–1 to G9
Female Choir “Ah” (Sonivox) C2 to G7
Male Choir “Ah” (Sonivox) F1 to F5
Choir “Ooh” (Sonivox) C–1 to G7
From Sibelius Sounds Rock and Pop Collection (sounds from Sonivox & Native Instruments)
Drum Kit (Brushes) Loose kick (B1); Tight kick (C2); Snare swirl, long (C#2); Rim shot
(D2); Claps (D#2); Snare swirl, short (E2); Low floor tom (F2), Hi-hat,
closed (F#2); High floor tom (G2); Hi-hat, pedal (G#2); Low rack tom
(A2); Hi-hat, open (A#2); Mid rack tom (B2); High mid-rack tom (C3);
Low crash cymbal (C#3); High rack tom (D3); Low ride cymbal (D#3);
Hi-hat foot pedal (E3); Ride bell (F3); Tambourine (F#3); Splash cym-
bal (G3); Cowbell (G#3); High crash cymbal (A3); Vibraslap (A#3);
Gong, with sizzles (B3); High bongo (C4); Low bongo (C#4); Muffled
slap (D4); Conga (D#4); Tumba (E4); Timbale, high (F4); Timbale, low
(F#4); Agogo, high (G4); Agogo, low (G#4); Cabasa (A4); Maracas
(A#4); Whistle, low (B4); Whistle, high (C5); Guiro, short (C#5);
Guiro, low (D5); Clave (D#5); Woodblock, high (E5); Woodblock, low
(F5); Cuica, low (F#5); Cuica, high (G5); Triangle, mute (G#5); Trian-
gle, open (A5); Shaker (A#5)
Drum Kit (Dance) Metronome bell (A#1); Snare (B1); Tight kick (C2); Side stick (C#2);
Rimshot (D2); Claps (D#2); Snare drum (E2); Low floor tom (F2); Hi-
hat, closed (F#2); High floor tom (G2); Hi-hat, pedal (G#2); Low rack
tom (A2); Hi-hat, open (A#2); Mid rack tom (B2); High mid-rack tom
(C3); Low crash cymbal (C#3); High rack tom (D3); Low ride cymbal
(D#3); Chinese cymbal (E3); Ride bell (F3); Tambourine (F#3); Tam-
bourine, pop (G3); Dance cowbell (G#3); High crash cymbal (A3);
Klick snare (A#3); Table ball (B3); High bongo (C4); Low bongo (C#4);
Muffled slap (D4); Conga (D#4); Tumba (E4); High timbale (F4); Low
timbale (F#4); Zap (G4); Zappy (G#4); Snare synth 2 (A4); Hi-hat 1
(A#4); Hi-hat 2 (B4); Hi-hat 3 (C5); Short guiro (C#5); Future snare
(D5); Clave (D#5); Dance cowbell 2 (E5); Al Snare (F5); Acid bass
drum (F#5); Acid bass drum (G5); Dark bass drum (G#5); Techno
bass drum (A5); Kring bass drum (A#5); Work bass drum (B5); Muf-
fled bass drum (C6); 808 bass drum (C#6); Klick bass drum (D6); Lo-fi
bass drum (D#6); Booch (E6); Real bass drum (F6); Sub-bomb (F#6)
Drum Kit (Modern Rock) General MIDI-compatible drum kit

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Name Techniques/instruments Range

World Percussion Tumba, open (C1); Tumba, mute slap (D1); Tumba tip, round-robin
(E1), Tumba, muffled slap (F#1); Tumba, finger bend (G1); Tumba,
mute tone (G#1); Tumba, bass tone (A#1); Conga, open (C2); Conga,
mute slap RH (D2); Conga, tip (E2); Conga, muffled slap (F#2); Conga,
finger bend (G2); Conga, mute tone round-robin (G#2); Conga, bass
tone (A#2); Qunto, open RH (C3); Quinto, mute slap (D3); Quinto, tip
(E3); Quinto, muffled slap (F#3); Quinto, finger bend (G3); Quinto,
mute tone round-robin (G#3); Quinto, bass tone (A#3); Whistle, low
long (B3); Whistle, high long (C4); Guiro, short (C#4); Guiro, long
(D4); Cabasa (D#4); Crash cymbal (E4); Splash cymbal (F4); Triangle,
mute (G#4); Triangle, open (A4); Shaker (A#4); Maraca (B4); Low
bongo, open (C5); Low bongo, slap (D5); Low bongo, bass tone (E5);
Low bongo, muffled slap (F#5); High bongo, open (C6); High bongo,
slap (D6); High bongo, tip and heel (E6); High bongo, muffled slap
(F#6); Clave (G6), Wood block, round-robin (G#6); Ride bell (A#6);
Ride bell crash (B6); Mambo bell, open (C7); Salsa bell, open (D#7);
Mambo bell, rim (E7); Cha-cha bell, rim (A7), Low timbale (C8), Low
timbale, rim (C#8); Cascara (D8); Low timbale, open tone hand (D#8);
Low timbale, muffled hit (E8); Low timbale, side stick (F8); High tim-
bale, open (F#8); High timbale, rim shot (G8); High timbale, open

tone hand (A8); High timbale, muffled hit (A#8); High timbale, side
stick (B8)
Fender Rhodes Mk.2 Tremolo E1 to E7
Hammond B3 Organ C2 to C7
Clavinet E7 E1 to E7
Electric Bass (Precision) Keyswitches: pick (C0); slap (D0); mute (E0) B0 to E5
Electric Guitar (Stratocaster) Keyswitches: pick (C1); mute (D1) C2 to F6
Acoustic Guitar (Nylon) C2 to E6
General MIDI (sounds from M-Audio Session)
Acoustic Grand Piano C–1 to G9
Bright Acoustic Piano C–1 to G9
Electric Grand Piano C–1 to G9
Honky-Tonk Piano C–1 to G9
Electric Piano 1 C–1 to G9
Electric Piano 2 C–1 to G9
Harpsichord C–1 to G9
Clavi C–1 to G9
Celesta C–1 to G9
Glockenspiel C–1 to G9
Music Box C–1 to G9
Vibraphone C–1 to G9
Marimba C–1 to G9
Xylophone C–1 to G9
Tubular Bells C–1 to G9
Dulcimer C–1 to G9
Drawbar Organ C–1 to G9
Percussive Organ C–1 to G9

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4. Playback & video

Name Techniques/instruments Range

Rock Organ C–1 to G9
Church Organ C–1 to G9
Reed Organ C–1 to G9
Accordion C–1 to G9
Harmonica C–1 to G9
Tango Accordion C–1 to G9
Acoustic Guitar (Nylon) C–1 to G9
Acoustic Guitar (Steel) C–1 to G9
Electric Guitar (Jazz) C–1 to G9
Electric Guitar (Clean) C–1 to G9
Electric Guitar (Muted) C–1 to G9
Overdriven Guitar C–1 to G9
Distortion Guitar C–1 to G9
Guitar Harmonics C–1 to G9
Acoustic Bass C–1 to G9
Electric Bass C–1 to G9
Electric Bass (Finger) C–1 to G9
Electric Bass (Pick) C–1 to G9
Fretless Bass C–1 to G9
Slap Bass 1 C–1 to G9
Slap Bass 2 C–1 to G9
Synth Bass 1 C–1 to G9
Synth Bass 2 C–1 to G9
Violin C–1 to G9
Viola C–1 to G9
Cello C–1 to G9
Contrabass C–1 to G9
Tremolo Strings C–1 to G9
Pizzicato Strings C–1 to G9
Orchestral Harp C–1 to G9
Timpani C–1 to G9
String Ensemble 1 C–1 to G9
String Ensemble 2 C–1 to G9
Synth Strings 1 C–1 to G9
Synth Strings 2 C–1 to G9
Choir Aahs C–1 to G9
Voice Oohs C–1 to G9
Synth Voice C–1 to G9
Orchestra Hit C–1 to G9
Trumpet C–1 to G9
Trombone C–1 to G9

252 Page 253 Sunday, April 22, 2007 1:11 PM

4.3 Sibelius Sounds Essentials

Name Techniques/instruments Range

Tuba C–1 to G9
Muted Trumpet C–1 to G9
French Horn C–1 to G9
Brass Section C–1 to G9
Synth Brass 1 C–1 to G9
Synth Brass 2 C–1 to G9
Soprano Saxophone C–1 to G9
Alto Saxophone C–1 to G9
Tenor Saxophone C–1 to G9
Baritone Saxophone C–1 to G9
Oboe C–1 to G9
English Horn C–1 to G9
Bassoon C–1 to G9
Clarinet C–1 to G9
C–1 to G9

Flute C–1 to G9
Recorder C–1 to G9
Pan Flute C–1 to G9
Blown Bottle C–1 to G9
Shakuhachi C–1 to G9
Whistle C–1 to G9
Ocarina C–1 to G9
Lead 1 (Square) C–1 to G9
Lead 2 (Sawtooth) C–1 to G9
Lead 3 (Calliope) C–1 to G9
Lead 4 (Chiff) C–1 to G9
Lead 5 (Charang) C–1 to G9
Lead 6 (Voice) C–1 to G9
Lead 7 (Fifths) C–1 to G9
Lead 8 (Bass + Lead) C–1 to G9
Pad 1 (New Age) C–1 to G9
Pad 2 (Warm) C–1 to G9
Pad 3 (Polysynth) C–1 to G9
Pad 4 (Choir) C–1 to G9
Pad 5 (Bowed) C–1 to G9
Pad 6 (Metallic) C–1 to G9
Pad 7 (Halo) C–1 to G9
Pad 8 (Sweep) C–1 to G9
FX 1 (Rain) C–1 to G9
FX 2 (Soundtrack) C–1 to G9
FX 3 (Crystal) C–1 to G9

253 Page 254 Sunday, April 22, 2007 1:11 PM

4. Playback & video

Name Techniques/instruments Range

FX 4 (Atmosphere) C–1 to G9
FX 5 (Brightness) C–1 to G9
FX 6 (Goblins) C–1 to G9
FX 7 (Echoes) C–1 to G9
FX 8 (Sci-Fi) C–1 to G9
Sitar C–1 to G9
Banjo C–1 to G9
Shamisen C–1 to G9
Koto C–1 to G9
Kalimba C–1 to G9
Bagpipe C–1 to G9
Fiddle C–1 to G9
Shanai C–1 to G9
Tinkle Bell C–1 to G9
Agogo C–1 to G9
Steel Drums C–1 to G9
Woodblock C–1 to G9
Taiko Drum C–1 to G9
Melodic Tom C–1 to G9
Synth Drum C–1 to G9
Reverse Cymbal C–1 to G9
Guitar Fret Noise C–1 to G9
Breath Noise C–1 to G9
Seashore C–1 to G9
Bird Tweet C–1 to G9
Telephone Ring C–1 to G9
Helicopter C–1 to G9
Applause C–1 to G9
Gunshot C–1 to G9