Example

1: Planxty Irwin

      
(From: Bunting, Collection of Ancient Irish Music, Vol.2 #7)

6         
Turlough o'Carolan

 8          
1st Example Ver.1  = 100


Plain Notes as in Source, MIX: Rev. + Chorus from Mixer [F10]. Take this for printing!

      
  86                
 

Harp  (With default-sound, it's not performing good enough, the sound should be enhanced... Well: Listen

                      
        
For technical details read description below (klick on more)

   
5

                    
        
Hrp. 

    
                       
    

10

 
              
 
Hrp.

    1.

            
15
2.

           
       
Hrp.

 

      
             

 
 
1st Example, Ver.2  = 100

  
0 Notes as in Source, MIX: Rev. + Chorus + doubled Instr. 2nd Track to boost CHORUS/REVERB .

       

    
Hrp. 

          
                 
 
The same Notes, but another Instrument for Chorus. As SF doesn't provide another Harp: We take silent Nylon-Guitar


            
    
        



 
(Reverb)

(In Public Domain)

                       

      
     

5

 
                          
   
Hrp. 

          
          
     
        



          
          


          
(Reverb)

 
                           
    

10


                        
  
Hrp.


                       
      
  
 
             
   
 
 
  
(Reverb)

 

      1.
            
15
2.

            
       
Hrp.

   
          
     

     
                
(Reverb)

2 (In Public Domain)

           

 
 
           
1st Example, Ver.3  = 100

  
0 Notes as in Source, MIX: Rev. + Chorus + same Instrument (2nd Track as REVERB) .

             

 
  
Hrp. 

         
  
      
                  
REVERB-Track: Less volume as main, but "phase-shifted" by 1/64th rest. (Not for reading or printing...)

   
                    
                
 



(Reverb)

         
        
 
Further Instrument: Flute! Notes as in source (treble), MIX: Rev. + Chorus + same Instrument (2nd Track as REVERB)

Fl.

          
       
               

 
REVERB-Track: Less volume as main, but "phase-shifted" by 1/64th rest. (Not for reading or printing...)

(Reverb)
  


      
     

      
      

5

                    
   
Hrp.

         
      
  
          
 


                      
          
(Reverb)

     

Fl.        

      

           
  

                
 

(Reverb)

(In Public Domain) 3

 
                                
   

9

  
               
   
 
Hrp. 


                                         
    

     
                    
         


 
(Reverb)

  

                           
   
Fl. 
                                        
 

(Reverb)    




                   
  
14
1. 2.

        
            
Hrp.

     
        
          
            
 

                        
            
(Reverb)

   

  
Fl.    

        
    
                  
            
 
(Reverb)

4 (In Public Domain)

    4
  4
19

    44

Hrp.

   4
            4

      44
        
(Reverb)



  4
(Reverb)          4

Example 2: Etude a-minor Op60 No7

Matteo Carcassi


 44                          
2nd Example Ver.1  = 108

  
(First Staff contains two Voices)

 
(Class. G.)

(Source)

                              
3 If you want a Printout: Take THIS Version!

 
(Class. G.)


            
   
5

(Class. G.)


            
              

7


(Class. G.)

(In Public Domain) 5

                           
       
9

(Class. G.)

     
           
 
11


(Class. G.)

        
                       
13

(Class. G.)

          
                     

15

(Class. G.)

                       
  
     
17

 
(Class. G.)

            
            
     
19

 
(Class. G.)


            
   
21

(Class. G.)

            
         
23

(Class. G.)

                         
      
25


(Class. G.)

          (End of Source)
 
                 
 
27


(Class. G.)

6 (In Public Domain)

 
            
2nd Example Ver. 2  = 108 This is the "main" instrument: more volume, Bal.=Pan: left

   
(Class. G.)


                          
  
This is the reverb: Other Instrument + Less volume, Bal.=Pan. right

 
(Reverb)

                              
3

 
(Class. G.)

         
                    
 
(Reverb)


            
   
5

(Class. G.)


                          
    


(Reverb)

         

                
  
7

 
(Class. G.)

   
                      
 
(Reverb)

                          
       
9

(Class. G.)

                             
(Reverb)    

     
           
 
11


(Class. G.)

     
                       
  
(Reverb)

(In Public Domain) 7

         
                       
13

(Class. G.)

     
(Reverb)                           

          
                     

15

(Class. G.)

            
       

          

(Reverb)

                       
  
     
17

 
(Class. G.)

                   
            
 
 
(Reverb)

            
            
     
19

 
(Class. G.)

         
        
      
     
 
(Reverb)


            
   
21

(Class. G.)


                          
    
(Reverb)

            
         
23

(Class. G.)

  
                             

(Reverb)

8 (In Public Domain)

                          
      
25

(Class. G.)

                           
    

(Reverb)

                
             
 
27

  
(Class. G.)

      
                   
  
(Reverb)

    
          
2nd Example Ver.3  = 108 Use mixer [F10] Stereo-Balance (Pan): Left main (louder), right echo (less loud)

(Class. G.)
     
 
                                
  
First edit one 1/64th rest = ammount of "Shift" for "echo". Behind that rest insert a 1:1 clipboard-copy of 1st track.

   
(Reverb)

                            
 
3

 
(Class. G.)

 
                                       

Reverb tracks are NOT meant for printing on paper!

   
(Reverb)

    
           
    
5

(Class. G.)

   
     

              
   

      
     

(Reverb)

  
                       

7


(Class. G.)

                   
                     
     
(Reverb)

(In Public Domain) 9

                              
   
9

(Class. G.)


 
                    
             
(Reverb)        

        
             
    
11


(Class. G.)

       
                           
      
(Reverb)

        
                     
13

(Class. G.)

       
                    
(Reverb)                    

            
                    

15

(Class. G.)

          

                              
(Reverb)
  

            
               
     
17

 
(Class. G.)

                                 
        
     
(Reverb)

                   
           

19

 
(Class. G.)

                         
        
      
(Reverb)

10 (In Public Domain)

     
        

  
  
21

(Class. G.)

  
                               
      
(Reverb)

                         
   
23

(Class. G.)

   
                                         

(Reverb)

                  

    
25

(Class. G.)

              
               
(Reverb)              


       
                  
 
27


(Class. G.)

           
                     

        
(Reverb)

      
 
      
29

(Reverb)

(In Public Domain) 11