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M a n u a l

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About Berlin Woodwinds
Berlin Woodwinds is our third library and marks a giant milestone both for our company
well as our users.
Our first full-section sample library focused on core articulations as well as a large
amount of trills and tempo-synced runs, Berlin Woodwinds is your go-to solution for
orchestral woodwinds. All recorded runs are completely identical to the string runs in
Orchestral String Runs, our critically-acclaimed first product to make combined string/
woodwind lines dead easy.
Berlin Woodwinds has the Trills Orchestrator, bringing trills up to the interval of a fifth
to your compositions at a level of realism never seen before. Our very own Runs Builder
lets you create custom-built runs as you need them without having to make do with just a
handful of pre-recorded runs. A large selection of recorded Scale Runs and figures in all
keys provide sweeping epicness to your compositions. We chose to record both portato
and staccato articulations at two different lengths to give you full control over the sound
of your woodwinds. BWW has fully customisable dynamics, allowing you to integrate the
library seamlessly into your templates playing nice with other woodwind libraries you
One of the things that really make woodwinds shine, is the right room. We are very
happy to have had the chance to record Berlin Woodwinds at the Teldex stage in Berlin/
Germany. The large recording stage at Teldex looks back on a long tradition of many well
known and Grammy® award winning recordings. Famous orchestras, like the Berlin
Philharmonics and great film composers from the USA and Europe trust and love the
wide and clear acoustics of this room. One of the best sounding scoring stages in Europe,
this room together with a fantastic complement of legendary microphones catapults
Berlin Woodwinds to a new level of orchestral woodwind sampling.
A big thank you to all of our customers! Only the huge success of Orchestral String
Runs and Symphonic Sphere made it possible to embark on recording this huge library.
Your continued support enables us to keep exploring our dreams of innovative sampled
All the best wishes!
Hendrik Schwarzer and the whole Berlin Woodwinds team

Berlin Woodwinds - Manual!


Scripting and Mapping Hendrik Schwarzer Mixing / Mastering Manfred Mantik Editing Manfred Mantik Jan Lepold Gernot Lange Peter Ulrich Daniel Wilhelm Sebastian Zangar Alexander Ketel Dennis Schuster Tuning Fernando Aguila Garcia Tobias Escher Manfred Mantik Gabriel Gudenus Lukas Knöbl Wolfgang Liebig Quality Assurance Jan Lepold Manual Tobias Escher Conductor Bernhard Fabuljan Recording Engineer Tom Rußbueldt Recorded at Teldex Berlin Thanks to all our beta testers! ______________________________________________________________________________________ Berlin Woodwinds . Hendrik Schwarzer Concept.Credits Produced by OrchestralTools.Manual! 3 .com Schwarzer & Mantik GbR Created and Produced by Manfred Mantik.

1st Oboe 06. You have free choice between three microphone positions. Close. 2nd Flute 03. All samples have their natural panning.Manual! 4 . Piccolo 01. The library contains the following instruments or sections. These microphone positions are switchable in the GUI. You will find all of these patches inside the Instruments folder. You can combine articulations with the Articulation Performer (separate free download) to control multiple articulations from a single track with powerful usability 3rd Flute 04. Flutes 8va (Ensemble) 05. 1st Bassoon 12. as they appear in your instruments folder: 00. not just additional recording passes.orchestraltools. 2nd Bassoon All playable articulations are listed in the articulations chart: http://www. the latter being a memory-friendly premix of the former. BWW was recorded at Teldex Stage Berlin/Germany with high-end Neumann microphones like the legendary M50 tube microphone. all core articulations have been recorded with multiple velocity layers for realistic dynamics. 1st Clarinet 09. 2nd Clarinet 10. English Horn 08. Clarinet Ens (Ensemble) 11. which are divided into patches containing a single articulation. 2nd Oboe 07. ______________________________________________________________________________________ Berlin Woodwinds .BWW 101 Instrumentation and Recording Berlin Woodwinds contains twelve instruments or instrumental sections. 1st Flute 02. Room and Mix. Additionally.pdf All instruments within a section are different instruments played by different musicians.

all notes will sound perfectly together. The script would then stretch the fastest available sample too heavily. So for more extreme tempos always make sure to use the Mix position for best results. as would be required when using the other microphone positions. with the script of the instrument deciding in realtime upon the sample to use. the Runs Builder and figures are synchronized to your host tempo. This allows you to play runs from both libraries at the same time without timing issues or note collisions. but not for Close and Room! This is due to Time Machine Pro’s limitation in polyphony.Manual! 5 . If you use the auto tempo mode in BWW. ______________________________________________________________________________________ Berlin Woodwinds .Tempo-synchronisation and NI‘s Time Machine All pre-recorded runs. Note that when using extreme tempos not playable by real musicians. Runs. Not every run is compatible with every tempo. we recorded all tempo-synced runs and figures at different tempos. the script will default to half tempo. only works in the Runs Builder if the Mix microphone position is used. with a vastly improved time-stretching algorithm compared to Time Machine 2. The auto tempo feature will play the run at half you host’s tempo and the result will sound much nicer. Please note that Kontakt 5’s Time Machine Pro. which makes it impossible to use it with double the number of samples. Figures and Runs Builder Blocks To make Berlin Woodwinds seamlessly integrate with our own Orchestral String Runs. figures and Runs Builder blocks is identical to the complement present in OSR. A 16th run at 200 bpm is not actually playable in reality there is no recorded sample for this tempo range. Be mindful of your tempo when writing with runs. You can easily double a string run with flute section . you will get the best results. resulting in a bad sound. The chosen sample is then stretched to your host tempo by means of Time Machine 2 (Close and Room microphone positions) and Time Machine Pro (Mix). meaning: at a speed actually playable by real woodwinds. If you use the Runs Builder or the Scale Runs (or any runs for that matter) in their natural tempo range. For Berlin Woodwinds. the complement of Scale Runs. you will hear artifacts and the playback will not be clear. This marks the next step in flexibility in professional sampling.

more key noises. Volume Control via Kontakt We have chosen to not normalise the audio samples used in Berlin Woodwinds. 1. you can either raise the volume of individual patches or raise Kontakt’s master volume slider: ______________________________________________________________________________________ Berlin Woodwinds . Using the Close position allows you to shape the sound even further by using your own reverb. wideness. In general we suggest the use of an unobtrusive final reverb on top of the samples to blend everything nicely together in a coherent space and to allow for spatial positioning of instruments within the mix (or. 2.Blending With Other Libraries We have spent considerable energy on making Berlin Woodwinds fit into your existing workflow and make it work together effortlessly with other libraries you are using.Manual! 6 . More Room = more softness. whereas a flute is very quiet in its bottom range. making some instrument ranges much quieter than you may find in other libraries. This means that all samples are at their natural volume. in plain words: to move instruments further back or to the front in the mix). If you want to raise the overall volume of BWW’s patches. A piccolo is pretty loud in its highest register. more Close = more detail. This is intentional to give you the full dynamic spectrum. The right reverb You can control the amount of room information with the three adjustable microphone positions in BWW’s interface.

Move the dial all to the left and you will have the original dynamics as recorded. Move it to the far right and the lowest velocities will be very quiet while the highest velocities will be pretty loud. Experiment with this setting and use it in your templates to bring out the full dynamic range of your orchestrations! The volume range feature allows you to blend BWW with your other woodwind libraries with ease. A piano can be really quiet and a forte can be really loud. having the quietest samples at too low a volume can make a library hard to use. Volume Range Dial Dynamics is what makes an orchestra sound good. By default. We though about this and have a solution: The volume range dial allows you to set the overall volume range of your instruments between the lowest and the highest velocity. this dial is set to give you some nice dynamic range compared the raw samples while at the same time not leaving you with almost silent low velocities. And incidentally. it is also what makes many mockups sound bad. ______________________________________________________________________________________ Berlin Woodwinds . On the other hand. giving your the full possible dynamic range.Manual! 7 . not something in-between.3. it can happen that a real musician could play that piano part much quieter than your samples do. Because there is a fixed amount of velocity layers in any sample library.

so you can change them if you like. From great power comes great responsibility! ______________________________________________________________________________________ Berlin Woodwinds . This CC is user-assignable. Here is a list of all CCs used by default and their use: CC 1 The modwheel controls morphing through the velocity layers if the X-Fade mode is activated on the BWW knob. Managed by the script by default. CC 107 Controls the volume of individual articulations. you do not need to do anything with these. Most CCs are user-assignable. which are also available to you as a user in case you want to adjust settings. you can experiment with them. Most CCs used by the library are standard and should work well with your current setup. You can change this CC (right-click). but if you want to influence the instrument directly. Most of the time. Seldom used for BWW. or for woodwinds in general.MIDI CCs used by Berlin Woodwinds We have taken great care to not clash with your existing MIDI CC allocations for Berlin Woodwinds. Nevertheless. but overrideable by the user. BWW’s scripts internally use a number of additional CCs. CC 22 This CC controls the vibrato mode (select patches only). Use with caution. CC 109 The Articulation Performer manages system memory with the aid of this CC. CC 11 All patches have CC 11 (Expression) set to control the general patch volume. the Articulation Performer script uses three CCs. so for the most part you can totally ignore it.Manual! 8 . Internally. CC 108 This CC is used to slightly detune individual articulation for a „humanized“ ensemble sound.

Runs Builder This patch type represents a breakthrough in sampling and was first introduced in Orchestral String Runs.Manual! 9 . BWW’s Runs Builder patches use a completely different GUI to the other patches in the library. Trills Orchestrator These patch types use a similar interface and represent the bulk of BWW’s content. with all interface elements labeled: ______________________________________________________________________________________ Berlin Woodwinds . This is how these patches look like. All features of this patch type will be described in detail in the corresponding section of the manual. General GUI This sections shows you the user interface of Berlin Woodwind’s articulation and Trills Orchestrator-powered patches.GUI Overview Articulation Patches vs Trills and Runs Builder BWW has three types of patches with some differences in their GUI: 1. while additional sections dedicated to the two patch types will show you what makes them unique. 3. This section will describe the common GUI features of these patches in detail. Articulation Patches and 2.

BWW Knob 3. This position has a rather direct sound. The Room/Close and Mix positions exclude one another to avoid phasing.1.Manual! 10 . Instrumentalist picture 2. Room and Close will be deactivated and vice versa. You will find rotary encoders with on/off buttons for all positions at the bottom of each patch: If you switch off a position. the samples will be loaded. the microphone knobs will be set to wellbalanced standard positions. its samples will be purged from memory. but also features a lot of room information for realism. Volume Range dial 4. If you activate the Mix positions. Room Increase the amount of the Room knob if you want to have as much room information as possible. ______________________________________________________________________________________ Berlin Woodwinds . Note You do not need to think about adjusting the mic positions if you do not want to! When you load any instrument into Kontakt. Raising the volume of the Close mics will also increase the playing noises made by the musicians. Release Samples toggle and dial 6. Close Increase the amount of the Close knob if you want to have a more direct sound with less response of the room. giving added realism for intimate settings. Mix The Mix position is a mixture between Close and Room. as soon as you switch a position on. Conversely. Microphone positions Microphone Positions All patches in Berlin Woodwinds have three adjustable microphone positions. The reverb will increase while the direct sound decreases. Volume Curve button 5.

If no text is visible.Manual! 11 . you are in the middle of two layers. In the lower third of the BWW know. not just a random sample lowered or raised in volume! ______________________________________________________________________________________ Berlin Woodwinds . When the display says mf. As you morph through the layers. Note that this display represents the actual recorded samples. So if you have p / mf / f in the display. You can re-assign the CC used for the X-Fade setting by right-clicking on the BWW knob and assigning a new CC by moving your corresponding fader/encoder or whatever input source you are using. the current velocity layer is displayed. but also which one is currently active. what you are hearing is the actual sound of the flutes playing mf. Staccato and Staccato Short use Velocity by default because they are much more easily playable this way. that not only tells you that there are three actual layers per note. this value will change to reflect the active layer. This is a huge help when creating realistic mockups because you are told by BWW that “right now those flutes are playing mf“.BWW Knob The BWW knob is a key component of using the library. It allows you to select one of two ways to control the velocity of played notes: 1) Velocity (how hard you press the keys on your MIDI keyboard) 2) X-Fade (lets you control the volume via the modwheel) Legato and sustained articulations as well as portato are by default set to X-Fade (modwheel).

so if you want to permanently change the volume curve you need to re-save the patch. The button lights up when release samples are active. for example for creating terraced dynamics. You can switch them on or off by pressing the Release Samples button. which will be triggered when you release a key. The Volume Range encoder sets the dynamic range of the patch. This even includes Staccato and Portato Long patches! Release samples are switched on by default.Manual! 12 . Increase the value of the knob if you want to increase the volume of the release samples. Volume Curve and Range You can adjust the volume curve of a patch directly in the BWW interface: Clicking on the Vol Curve button opens a bar chart where you can set your desired velocity curve by clicking and dragging in the chart window. All Trills Orchestrator patches have a knob at the bottom left to adjust the release volume. ______________________________________________________________________________________ Berlin Woodwinds . With the Release Volume knob you can control the volume of the release samples that get triggered when you release a key. You can find a detailed description of what this control does in the section “Blending With Other Libraries“. To switch the release samples off.Release Samples Most patches in Berlin Woodwinds have release samples. move the know all to the left. The volume curve also affects the X-Fade mode using the modwheel. This means that you can fine-tune the behaviour of the modwheel to allow for unique dynamic control. Note that this setting is only applied to this particular instance of the patch. decrease the value and the volume of the release samples will decrease.

Wind Noises Like a real flute player. you can add more or less air and wind noises on staccatos notes. This knob can be controlled with any MIDI CC of your choice via MIDI learn (right click on the dial). The button will light up and you can adjust the volume of wind noises with the encoder dial.Manual! 13 . ______________________________________________________________________________________ Berlin Woodwinds . Press the Wind Noises button to switch them on.

some have additional features accessible in the GUI. These three vibrato styles use dedicated recorded samples and have not been created by manipulating existing audio material. so for us it seems only fitting to show you their faces! Legato and Sustain Berlin Woodwinds has true legato (interval sampling) for all instruments and sections. Every true legato patch is sampled with three dynamic crossfade layers. That means you will hear the natural transitions from one note to another. no vibrato and progressive vibrato. The highlighted button shows the currently selected style: If you would like to use a different CC to control the vibrato style. Vibrato By default. CC22 switches between normal vibrato. which will be explained here. In a way these fine musicians now play on your cues. double-click on the CC number and enter a new one.Articulation Patches Berlin Woodwinds has a broad range of articulations across the whole woodwind section. The legato and sustain patches both feature adjustable vibrato and key noises. To achieve the highest level of realism and detail. ______________________________________________________________________________________ Berlin Woodwinds . While all of these patches use the general interface described in the previous section. Instrumentalists All standard soloist articulation patches prominently feature a picture of the instrumentalist playing the instrument during the recording sessions for Berlin Woodwinds. We feel that the instrumentalist is of tremendous importance because obviously s/he shapes the sound and in effect creates what you hear when using BWW.Manual! 14 . You can see which vibrato style is active by looking at the interface. Make sure not to use any CC already in use. we have recorded every interval up to an octave.

We have opted to recreate the natural sound of legato instruments as close as possible. so the transitions in BWW may be much quieter compared to other libraries. You can adjust the volume of these transitions with this control. Click the Key Noises button to switch this feature off and set the volume with the rotary encoder. Legato Volume Legato patches have one additional rotary encoder that lets you control the volume of the legato transitions between notes. whereas when listening to real instruments playing legato. sampled legato instruments tend to have very pronounced transitions.Key Noises We have recorded key noises for every note individually. ______________________________________________________________________________________ Berlin Woodwinds . We have found that quite often.Manual! 15 . though. the connection between notes is much more subtle. which you can add to your performance in the interface.

Double and Triple Tongue Berlin Woodwinds has recorded double tongue and triple tongue samples for most instruments.Manual! 16 . You can switch between the two modes by pressing the corresponding button. The second note sounds when you release the key and BWW will automatically sound the third note after an equal period of time. Double Tongue Play a note and the first note sounds. with the gap between notes determined by how long you keep the key pressed. Basically you only need to play every second note. like all controls in BWW. All patches have samples for slower passages as well as samples for faster passages. Release the key and the second note is played. This is very useful for playing triple-tongued triplets! ______________________________________________________________________________________ Berlin Woodwinds . This button. In a painstaking process we recorded real double and triple tongue notes and made them react to your playing speed. Triple Tongue Playing triple tongued notes requires a bit of practice. Right-click on the button to assign a CC. but it is easily worth it: Press a key and the first sounds. is automatable via MIDI CC.

______________________________________________________________________________________ Berlin Woodwinds . Last but not least. Close and Mix. regardless of the number of notes you play. every Trills Orchestrator has a Mode Change Function. It shows you every trill you are playing. a huge timesaver if you want to notate trills in your written scores. there are three knobs and buttons for the microphone positions: Room. Our custom script manages the biggest collection of different trills and interval tremolos ever created and it is a huge time-saver! Choose the interval to be trilled between by just pressing the starting and final notes. Just like in all other instruments. you just play them. Read more about the use and features of the Trills Orchestrator on the following pages. one-shot semitone and wholetone trills (just one single trill) as well as identical sfz trills. We say ergonomic because you do not need any keyswitches to change between different trills.Trills Orchestrator Patches One of the most powerful tools in Berlin Woodwinds is the ergonomically playable Trills Orchestrator. as well as a knob for the Release Volume. Graphical User Interface (GUI) At the right of the GUI you see a helpful tool for your orchestrations: The notation view.Manual! 17 . you can play looped trills up to a fifth. Depending on the instrument.

Manual! 18 . flickering chords are possible and easy to play. Why? Because you cannot use the final note of a trill as a new starting note.How to play the Trills Orchestrator We were looking for a way to make this instrument easily playable.-) Look at the filename of the patch to see which intervals are playable: 2ndFlute_TO_Trills_HT-4th for example tells you that trills up to a 4th are playable. After testing a few options we discovered “rolling up” the chords is the best and easiest way to play trills without keyswitches. The Orchestrator then waits for an additional note. If you press E now. Now the Orchestrator trills between C and D and also between D and E. With the example before: You trill between C and D. you can “roll up” the chords very quickly. All you have to do is press a starting note and then the final note of your trill and the Trills Orchestrator will trill between these notes. The Orchestrator allows you to trill between more than just two notes. the C is your starting note and the D is your final note. the E is your new starting note. an E for example. But it is important to always roll them up. Now you need to press one more note. ______________________________________________________________________________________ Berlin Woodwinds . So the D is automatically a final note as well as a starting note. Just press any other key. Now you can use the D as another starting note. The Orchestrator then trills between C and D. but not between D and E. Start Tone = Always New In contrast to the other mode. the problem is that you will not have enough fingers to do that . The Mode Change Function Every Trills Orchestrator can run in two different modes: End Tone = Start Tone In this mode every final note is automatically a new starting note if you press more than two keys. 5 or 7 for example. While you are playing. Note The starting note must always be lower than the final note. in this mode you cannot trill between odd numbers of notes like 3. For example: When you trill between C and D. You can trill between up to 20 notes. the delay between the start note and the end note can be very short. lets say an F. pressing two or more keys at exactly the same time will not work. and between E and F. Just roll off the whole chord and the Trills Orchestrator will trill between the notes you are playing.

choose the End Tone = Start Tone mode.Manual! 19 . Tip You can blend the sfz trills perfectly with the irregular trills to achieve a sharp attack at the beginning of a long sustained trill. you should choose the Start Tone = Always New mode. ______________________________________________________________________________________ Berlin Woodwinds .Note Just find out which mode is good for your current needs and choose accordingly: If you want to play flickering chords for example. If you want to play two different trills. each between two notes.

With the experience gained in creating OSR and OSR2 and the feedback received from of our customers. last but not least. double tempo and regular tempo as well as half triplets and double triplets. Scale Runs The Scale Runs patches contain full recorded runs in all major and minor keys. you can play your own runs with the help of the Runs Transitions patch and. All runs have been recorded at different speeds and are tempo-synced to your host. Change the setting to half tempo and the run will essentially play as an 8th run. The current selection is shown below the slider. The tempo mode slider with the auto tempo button is controllable via an assignable MIDI CC (right click . If you have the auto tempo button switched on. To control the slider manually. ______________________________________________________________________________________ Berlin Woodwinds . so we felt we really needed to nail that bit. if you have a host tempo of 200bpm. As an example. Orchestral String Runs was our first commercial library and we tried out many things to come up with the best sounding and most flexible solution. who sent us e-mails with ideas and suggestions.Runs Berlin Woodwinds puts a strong emphasis on idiomatic woodwind writing. a 16th run would be way too fast. Now we can all use the best of it in Berlin Woodwinds. For this reason. regardless of the mic position(s) used. No one will argue that runs are an important part of what a woodwinds section tends to do.Manual! 20 .by now you should know this by heart) and lets you adjust playback of the samples between half tempo. This means unrivalled fidelity and complete freedom in choosing your tempo. C0 to B0 on your MIDI keyboard act as keyswitches to switch between keys. All Scale Runs use NI’s Time Machine Pro to sync to your host tempo. You can assign this toggle to a MIDI CC by rightclicking on it to control it from within your sequencer. you get a large complement of runs to choose from in the Scale Runs patches. we improved these run algorithms dramatically over the course of many updates. BWW will adjust this slider automatically to find the ideal solution. we also created a woodwind version of our Runs Builder. Please refer to the included Scale Runs Chart for information about the different types of runs available. switch off the auto tempo button. Scale Runs patches have a toggle that lets you choose between major and minor runs.

the “glue“. They are available for both solo instruments and ensembles. allows you to create custom runs by combining several groups of notes.Manual! 21 . Now it is finally possible to play completely unique runs on a MIDI keyboard and hear the “glue“ in between individual notes. Just play your run and BWW will do the rest! Runs Builder The Runs Builder. which are all real recorded samples. which is available for the Clarinet Ensemble (a3) and the Flute Ensemble in octaves (a2+Flute 8va or Piccolo in the higher register). We have sampled transitions between notes up to the interval of a fifth. because that is essentially what these patches allow you to do) are based on the same technology that powers legato instruments and use very fast legato transitions between notes. which brings these real recorded short phrases combined as a bigger run into your sequences.Runs Transitions Patches The Runs Transitions patches (also called Playable Runs. Within these groups. so you can play runs leaving gaps between notes if you want. you can hear the natural connection between notes . ______________________________________________________________________________________ Berlin Woodwinds .

you can play the articulation currently loaded in that slot on your keyboard.Manual! 22 .Playing the Runs Builder First you need to select the key by pressing the corresponding keyswitches. just click on any of the available articulations in the lower left of the interface. all slots will be empty and basically nothing will be loaded into memory. Then you select a slot via keyswitch. The articulation will be loaded into RAM and its picture is displayed in the slot. Now you can click on any empty slot to select it. easily visible by looking at its highlighted border. All contents and settings of the slots will be saved with your sequencer project file or in any Kontakt instrument/multi you save. ______________________________________________________________________________________ Berlin Woodwinds . Slots & Articulations When you load the Runs Builder into your Kontakt instance. This slot is now activated. If you have switched Auto Tempo off. To fill the slot with an articulation. You can change the slot in realtime using keyswitches. When a slot is activated (white border). you need to select a tempo mode with the Tempo Mode slider or MIDI CC.

if you have a host tempo of 200bpm. BWW will adjust this slider automatically to find the ideal solution. ______________________________________________________________________________________ Berlin Woodwinds . a 16th run would be way too fast. To clear a slot. To control the slider manually. Keyswitches C0-B0 = changes the key (e. The keyswitch controlling a slot is displayed above the corresponding slot. Tempo Mode Slider You will find a Tempo Mode slider underneath every slot. select it and press the articulation button again.g. Change the setting to half tempo and the run will essentially play as an 8th run. This slider is controllable via any assignable MIDI CC (just right click) and lets you adjust playback of the samples between half tempo.Manual! 23 . C Major. You can assign a CC to this slider by right-clicking on it. etc. The current selection is shown below the slider. If you have the auto tempo button switched on. As an example. double tempo and regular tempo as well as half triplets and double triplets. There also is a Clear All button next to the articulation buttons. F Major. switch off the auto tempo button.Every slot has its own keyswitch.) C1-A1 = activates individual slots Scale Use the Scale slider to select the scale you would like your run to be in.

Manual! 24 .ERLIN WOODWINDS recorded at the Teldex Studio stage ______________________________________________________________________________________ Berlin Woodwinds .