CINEMATIC STUDIO SOLO STRINGS

User Manual

GUI / Main Screen 2

Reverb and Mixer 2
Articulation Matrix & Key switch assignment 2
Articulation-specific controls 2

Long Note Articulations 3

Sustains / Legato 3
Legato speed 3
Repeated Notes and Portamento 4
Chords and Non vibrato 5

Other Long Note Articulations 5

Trills 5
Tremolo and Harmonics 5

Short Notes 6
Staccato, Staccatissimo, Staccato and Sfz 6
Pizzicato 6
Marcato 6
Measured Tremolo 6
Short Note Delay 6

Additional Functions 7
Config Screen 7
Con Sordino 7
Velocity Sensitive Key Switches 7
Key Switch CC 8
 GUI / Main Screen

The GUI is divided into three main sections. On the left is the mixer and reverb dial, in
the middle is the articulation matrix, and on the right hand side there is a space for
special functions to pop up, depending on what articulation is currently selected.

Reverb and Mixer

CSSS was recorded in the beautiful Trackdown Scoring Stage in Sydney. We wanted
to preserve all of its tone and punchy character, and so our preference is to use the
library completely dry, with the reverb set to zero - which is its default setting.
However we did include a hall style reverb preset, which can be configured by clicking
on the reverb dial itself and dragging left or right.

The mixer features four selectable channels. By default the “Mix” channel is active
when you load a patch. This channel is a pre-baked stereo mix of all three microphone
distances, which allows you to get the full studio sound at 1/3 of the RAM & CPU
usage. I recommend using this channel for most of your composing needs. However, if
you want extra control over the ambience and close detail, you can load in the
individual channels by clicking on the little power button icon below each fader:

Each channel can be routed to a specific output within Kontakt by clicking on the
small triangle icon beneath the text below each fader. For more information on how to
configure routing in Kontakt, please click here

Please note: it is not possible to activate both the Mix channel and any of the other
channels simultaneously. If you activate the Close channel, then Mix will automatically
deactivate, and vice versa. Deactivating a channel will unload it from RAM.

Articulation Matrix & Key switch assignment

The articulation matrix is made up of the square tiles in the centre of the GUI, and the
orange highlighted tile displays the currently selected articulation. The key switch
currently in use for each articulation is displayed in the top left of each tile. To change
the key switch assignment of an articulation, hold the shift key and click on its tile, and
then press the new desired key. The same functionality applies to the Legato and Con
Sordino switches. Shift+click on either of them, and then press your new desired key
to reassign key switches. Unneeded articulations can be removed from memory by
holding Alt and clicking on the articulation tile.

Articulation-specific controls

Sustain, Staccato, Measured Trem, Marcato and Pizzicato all feature additional
controls that will pop up on the right hand side of the GUI when selected. These will
be covered in more detail in the following section.

 Long Note Articulations

Sustains / Legato

The Sustains in CSSS were sampled in three dynamics, from piano to fortissimo
(controlled via the mod wheel CC1), and feature a wide expressive vibrato, perfect for
adding lush warmth to any piece. As with any of the long-note articulations, you can
enable the Legato switch to play monophonic legato lines, or disable it to play chords.

Arguably the make-or-break aspect of any modern orchestral library is how musical
and expressive the legato engine is. We spared no expense in creating the legato
system for Cinematic Studio Solo Strings, and sampled three distinct dynamics of
legato, as well as portamento slides and non-vibrato. Each legato transition was
sampled in long-form, which means there is no x-fading or trickery going on behind
the scenes. Every time you play a new note, you’re hearing an actual performance by
a top soloist, not a tricky script trying to approximate what that sounds like. From soft,
silky pianissimo to energetic fortissimo full of vibrato, the expressive scope of CSSS
will be immediately apparent as you open a patch and start playing.

Legato speed

In CSSS, there are three legato choices. The easiest to play is Classic Legato, which
mimics the system we used for our previous library CS2. However for maximum
realism, we recommend Standard or Advanced, which can be selected when you load
the main patches. The rationale behind our legato design philosophy is as follows:

When a musician transitions from one note to another, there is a subtle timbral and
dynamic shift as the players prepare for the new note. This effect can be heard while
listening to a solo bassoon or a group of violins, and is a crucial factor in creating a
realistic sounding performance with samples. CSSS has been programmed to include
these subtle swells before each new triggered legato note, and the end result is a
smooth, expressive sound. In practical terms, this means there is a delay whenever
you trigger a new legato note in any CSSS instrument. The amount of delay is
determined by the velocity at which you play each new legato note. There are three
velocity zones: 0-64, 65-100, and 101-127, which correspond to three legato speeds
respectively: slow, medium and fast, as picture below.

Slow has the most delay, approximately 1/3 of a second (333ms), medium is about
1/4s (250ms), and fast has a small delay - approximately 100ms.

 The velocity ranges themselves are large, which means you generally need to press
the key softly to trigger a slow expressive legato, a bit harder for a medium paced
transition, and then quite hard for a fast, immediate sounding
transition. There is no gradual increase of speed within any
one range, so whether you hit a key with a velocity of 20 or
58, you will be triggering the same slow transition in both
cases. I encourage you to practice hitting each range, while
observing the legato speed indicator on the GUI. This will give
you visual feedback so you can grow accustomed to the
various velocity zones while you practice.

Please note that the above chart applies to

“Advanced” mode legato. If you switch to
“Standard,” there are just two speeds: medium
and fast.

As previously mentioned the Classic Legato patches are the easiest to use and will be
familiar to users of CS2. However to achieve maximum realism, we recommend using
the main patches. For our solo strings library, I recommend using Standard mode, as it
tends to sound more realistic than Advanced (this applies whether you’re writing for
quartet or 1st chair parts), and it’s easier to use.

Repeated Notes and Portamento

Another powerful feature of the Cinematic Studio Series is the ability to perform a re-
articulation of the same note. This is done by holding the sustain pedal and playing
the same note twice. Again, instead of a scripted emulation, you’re actually hearing a
sampled performance. In the case of solo strings it was achieved by the players
performing a re-bowing of the same note. For brass and woodwinds, it is a re-
tonguing of the same note. All instruments in the CSS range include this feature,
across multiple dynamics and with 3 x Round Robins.

Expressive Portamento slides have also been included in CSS, and can be triggered
by playing a legato transition at a velocity below the “Portamento Velocity” setting in
the Config section. This is set to 20 by default, and the portamento slides can be
switched off altogether via CC5 by default (this CC can be changed via the Config
section).

Chords and Non vibrato

Disabling the Legato switch enables the playing of

chords, and also causes the envelope configuration
panel to appear. This allows easy setting of the
fade-in and fade-out times of your chords. Control
+ click returns each dial to its default setting.

Both sustains and legato without vibrato were also

recorded for CSSS. They are accessible by moving
the vibrato control CC (CC2 by default) down to
zero. This can add a significant change of timbre
and feel to a chord or melodic line, and since the non-vib legato samples were
performed as re-bowed legato instead of slurred (as the vibrato legato was), the non-
vib legato offers a different sounding legato transition. I recommend experimenting
with each type to see which one works best from piece to piece.

Please note: To maximise realism, CSSS is configured so that switching between non-
vibrato and vibrato is an on/off function, and it is not possible to set the fader halfway
between the two.

Other Long Note Articulations

Trills

Trills in CSSS are activated by pressing two keys simultaneously. Play two notes a half
tone apart to trigger a halftone trill, or a whole tone apart to trigger a whole tone trill.
The two notes themselves must be triggered at precisely the same time as each other
or the trill wont trigger - make sure the notes are no more than 25ms apart. The trill
itself will continue to hold for as long as any one of the two keys pressed is still held.
Switching Legato on or off allows playing of either monophonic legato or chords.

Tremolo and Harmonics

Tremolos were sampled in four dynamics, from pp up to fff, while the harmonics were
sampled in two dynamics: pp and mp. Same as with all the long note articulations,
dynamics are controlled via the mod wheel, and switching Legato on or off allows
playing of either monophonic legato or chords.

Note: all of the long note articulations will remember their own attack and release
envelope settings independently of one another.

 Short Notes

Staccato, Staccatissimo, Staccato and Sfz

CSSS features 4 distinct short note types ranging

from short, energetic spiccatos to long, powerfully
accented sforzando notes. These can be selected
via the mod wheel (CC1) by default. Right click on
the selector to change the CC assignment for this
switch. By utilising the mod wheel while
performing a passage, it’s possible to create
interesting and varied rhythmic passages.

Pizzicato

Pizzicato features a similar switch, allowing selection of standard Pizzicato, Bartok

snaps and Col Legno.

Marcato

The Marcato articulation can be used to create fast runs, and powerfully accented,
energetic long vibrato sustains. Dynamics are controlled mainly via the mod wheel, but
velocity also subtly affects the volume of each note, to allow for a bit of extra
emphasis when you need it during a passage. I generally recommend playing very fast
passages with this articulation. Runs can be played either with the spiccato overlay
set to on or off - try experimenting with both.

Measured Tremolo

Every time you trigger a measured tremolo note, you will

hear two notes, with the second note either being synched
to the host tempo or manually selected via the slider that
appears when the switch is set to Manual. Measured
tremolo sounds its best between 150 and 210 bpm. Playing
a series of eighth notes will result in a lively, rhythmic blur of
sixteenth notes, perfect for adding excitement to any fast paced cue.

Short Note Delay

Please note that there is a short delay of 60ms from the beginning of the short note
samples to their “rhythmic peak.” We left this in the samples intentionally as we
believe this adds a significant degree of realism, and most importantly, it ensures that
the timing across all short note types is consistent. So make sure you account for this
when quantising short note tracks, either by applying a negative 60ms delay to the
whole track, or moving the the notes back manually.

 Additional Functions

Config Screen

The Config screen can be accessed via the cog icon in the top right corner of the GUI.

Here you can change the CC assignment for Key switch CC (explained below),
Velocity X-Fade, Vibrato X-Fade, Volume and Portamento Volume. Portamento
Velocity can be set between 0 and 127, and determines the maximum velocity at
which a portamento slide will trigger. For example, at the default setting of 20, a
portamento slide will only trigger when a legato transition is performed at or below a
velocity of 20.

Con Sordino

CSSS includes a Con Sordino emulation that was created with a

highly detailed set of custom impulse recordings. Switching it on
via the switch will apply this effect to the entire patch, allowing
you to add that characteristic silky sound to any passage you
write.

Velocity Sensitive Key Switches

Many of the key switches in CSSS are velocity sensitive. This means that the velocity
at which the key switch itself is pressed will trigger additional actions. For example,
the Sustain key switch is velocity sensitive; if you press it at a velocity of 0-64,
Standard Legato will be active upon changing to it, while 65-127 will activate
Advanced Legato instead. Other examples are the Legato and Con Sordino key
switches. Pressing them at a velocity of 0-64 switches them off, 65-127 switches them
on. A full list of velocity specific key switch functions is as follows:

Key Switch Velocity & Function

Sustain 0-64: Standard Legato 65-127: Advanced Legato

Staccato 0-32: Spiccato 33-64: Staccatissimo 65-96: Staccato 97-127: Sfz

Pizzicato 0-41: Pizzicato 42-84: Bartok Snap 85-127: Col Legno

Marcato 0-64: Spiccato Overlay Off 65-127: Spiccato Overlay On

Legato 0-64: Legato Off 65-127: Legato On

Con Sordino 0-64: Con Sordino Off 65-127: Con Sordino On

Key Switch CC

Any of the functions within CSSS that can be triggered via key switches can also be
triggered via a single CC: the Key switch CC. This is set to CC58 by default, and can
be changed via the Config screen. Moving this CC to any of the values listed in the
table below will activate their associated functions.

CC Value Function

0-5 Sustain: Standard Legato

6-10 Sustain: Advanced Legato

11-15 Spiccato

16-20 Staccatissimo

21-25 Staccato

26-30 Sfz

31-35 Pizzicato

36-40 Bartok snap

41-45 Col Legno

46-50 Trills

51-55 Harmonics

56-60 Tremolo

61-65 Measured Tremolo

66-70 Marcato without overlay

71-75 Marcato with overlay

76-80 Legato On

81-85 Legato Off

86-90 Con Sordino On

91-95 Con Sordino Off

Choosing whether to use key switches or the key switch CC is a matter of personal
taste. Key switches are generally easier to access, and simply require pressing /
recording the appropriate keys within your sequence. However if you decide to
transpose a piece, you’ll need to be careful not to transpose any of these recorded
key switch notes along with your melody. This is something you won't need to worry
about if you’re using the key switch CC. Another benefit of using the key switch CC is
that as long as your sequencer’s MIDI chase function is enabled, you’ll be able to start
playing from halfway through your sequence, as opposed to having to skip back to
earlier in the sequence where the key switch notes were recorded.