Instruments For Garritan Personal Orchestra Refill

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Directory of NN-XT Instruments in Personal Orchestra WOODWINDS Flutes Flute NV Solo Flute Plr1 Flute Plr2 Flute Plr3 Flute Section Flute Solo Piccolo solo ÆAlt

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Flute NV Solo ALT Flute NV Solo ALT2 Flute Plr1 ALT Flute Plr1 ALT2 Flute Plr2 ALT Flute Plr2 ALT2 Flute Plr3 ALT Flute Plr3 ALT2 Flute Section ALT Flute Section ALT2 Flute Solo ALT Flute Solo ALT2 Piccolo Solo ALT Piccolo Solo ALT2

Flute NV Solo TRL ALT Flute NV Solo TRL ALT2 Flute NV Solo TRL Flute Solo TRL ALT Flute Solo TRL ALT2 Flute Solo TRL Piccolo Solo TRL ALT Piccolo Solo TRL ALT2 Piccolo Solo TRL

Oboes and English horn English Horn Solo Oboe Plr1 Oboe Plr2 Oboe Pl3 Oboe Section Oboe Solo ÆALT

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English Horn Solo ALT English Horn Solo ALT2 Oboe Plr1 ALT Oboe Plr1 ALT2 Oboe Plr2 ALT Oboe Plr2 ALT2 Oboe Plr3 ALT

English Horn Solo TRL ALT English Horn Solo TRL ALT2 English Horn Solo TRL Oboe Solo TRL ALT Oboe Solo TRL ALT2 Oboe Solo TRL

Oboe Plr3 ALT2 Oboe Section ALT Oboe Section ALT2 Oboe Solo ALT Oboe Solo ALT2 28

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WOODWINDS Clarinets Bass Clarinet Solo Bb Clarinet Plr1 Bb Clarinet Plr2 Bb Clarinet Plr3 Bb Clarinet Section Bb Clarinet Solo ÆALT

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Bass Clarinet Solo ALT Bass Clarinet Solo ALT2 Bb Clarinet Plr1 ALT Bb Clarinet Plr1 ALT2 Bb Clarinet Plr2 ALT Bb Clarinet Plr2 ALT2 Bb Clarinet Plr3 ALT Bb Clarinet Plr3 ALT2 Bb Clarinet Section ALT

Bass Clarinet solo TRL ALT Bass Clarinet Solo TRL ALT2 Bass Clarinet Solo TRL Bb Clarinet Solo TRL ALT Bb Clarinet Solo TRL ALT2 Bb Clarinet Solo TRL

Bb Clarinet Section ALT2 Bb Clarinet Solo ALT Bb Clarinet Solo ALT2

Bassoons Bassoon Plr1 Bassoon Plr2 Bassoon Plr3 Bassoon Section Bassoon solo Contrabassoon Solo ÆALT Bassoon Plr1 ALT Bassoon Plr1 ALT2 Bassoon Plr2 ALT Bassoon Plr2 ALT2 Bassoon Plr3 ALT Bassoon Plr3 ALT2 Bassoon Section ALT Bassoon Section ALT2 Bassoon Solo ALT Bassoon Solo ALT2 Contrabassoon Solo ALT Contrabassoon Solo ALT2

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BRASS INSTRUMENTS French Horns French Horn Plr1 French horn Plr2 French Horn Plr3 French horn section French Horn Solo ÆALT

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French Horn Plr1 ALT French horn Plr1 ALT2 French Horn Plr2 ALT French Horn Plr2 ALT2 French horn Plr3 ALT French Horn Plr3 ALT2 French Horn Section ALT French Horn Section ALT2 French Horn Solo ALT French Horn Solo ALT2

French Horn Solo TRL ALT French Horn Solo TRL ALT2 French Horn Solo TRL

Trumpets Trumpet Plr1 Trumpet Plr2 Trumpet Plr3 Trumpet Section Trumpet Solo ÆALT

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Trumpet Plr1 ALT Trumpet Plr1 ALT2 Trumpet Plr2 ALT Trumpet Plr2 ALT2 Trumpet Plr3 ALT Trumpet Plr3 ALT2 Trumpet Section ALT Trumpet Section ALT2 Trumpet Solo ALT Trumpet Solo ALT2

Trumpet Solo TRL ALT Trumpet Solo TRL ALT2 Trumpet Solo TRL

Trombones Trombone Plr1 Trombone Plr2 Trombone Plr3 Trombone Section Trombone Solo ÆALT Trombone Plr1 ALT Trombone Plr1 ALT2 Trombone Plr2 ALT 30

TRL Trombone Solo TRL ALT Trombone Solo TRL ALT2 Trombone Solo TRL

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BRASS INSTRUMENTS Trombone Plr2 ALT2 Trombone Plr3 ALT Trombone Plr3 ALT2 Trombone Section ALT Trombone Section ALT2 Trombone Solo ALT Trombone Solo ALT2

Tuba Tuba solo ÆALT

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Tuba Solo ALT Tuba Solo ALT2

Tuba Solo TRL ALT Tuba Solo TRL ALT2 Tuba Solo TRL

PERCUSSION Basic Orch Percussion Bass Drum at C1 Glockenspiel RLL Glockenspiel RNG Glockenspiel Gong Tam Tam Cymbal Marimab RLL Marimba RNG Marimba Snares at C3 Timpani RLL Timpani RNG Timpani Split RLL Timpani Split RNG Timpani Split Triangle Tubular Bells RLL Tubular Bells RNG Tubular Bells Xylophone RLL Xylophone RNG Xylophone ÆALT Glockenspiel ALT Glockenspiel ALT2 Glockenspiel RLL ALT Glockenspiel RLL ALT2 Glockenspiel RNG ALT Glockenspiel RNG ALT2 Marimba ALT Marimba ALT2 31

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PERCUSSION Marimba RLL ALT Marimba RLL ALT2 Marimba RNG ALT Marimba RNG ALT2 Timpani ALT Timpani ALT2 Timpani RLL ALT Timpani RLL ALT2 Timpani RNG ALT Timpani RNG ALT2 Timpani Split ALT Timpani Split ALT2 Timpani Split RLL ALT Timpani Split RLL ALT2 Timpani Split RNG ALT Timpani Split RNG ALT2 Tubular Bells ALT Tubular Bells ALT2 Tubular Bells RLL ALT Tubular Bells RLL ALT2 Tubular Bells RNG ALT Tubular Bells RNG ALT2 Xylophone ALT Xylophone ALT2 Xylophone RLL ALT Xylophone RLL ALT2 Xylophone RNG ALT Xylophone RNG ALT2

HARPS Harp Harmonics RLL Harp Harmonics RNG Harp Harmonics Harp RLL Harp RNG Harp ÆALT Harp ALT Harp ALT2 Harp Harmonics ALT Harp Harmonics ALT2 Harp Harmonics RLL ALT Harp Harmonics RLL ALT2 Harp Harmonics RNG ALT Harp Harmonics RNG ALT2 Harp RLL ALT Harp RLL ALT2 Harp RNG ALT Harp RNG ALT2 32

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KEYBOARDS Harpsichord Double Harpsichord Steinway Piano ÆALT Harpsichord ALT Harpsichord ALT2 Harpsichord Double ALT Harpsichord Double ALT2 Steinway Piano ALT Steinway Piano ALT2 Pipe Organ Pipe Organ ÆALT Pipe Organ ALT Pipe Organ ALT2

SOLO STRINGS Violin Violin 1 Solo Pizz VEL Violin 1 solo Sus Violin 1 solo Tremolo Violin 2 Solo Pizz VEL Violin 2 solo Sus Violin 2 solo Tremolo Violin Plr1 Violin Plr2 Violin Plr3 Violin Section ÆALT

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Violin 1 Solo Pizz VEL ALT Violin 1 Solo Pizz VEL ALT2 Violin 1 solo Sus ALT Violin 1 solo Sus ALT2 Violin 1 solo Tremolo ALT Violin 1 solo Tremolo ALT2 Violin 2 Solo Pizz VEL ALT Violin 2 Solo Pizz VEL ALT2 Violin 2 solo Sus ALT Violin 2 solo Sus ALT2 Violin 2 solo Tremolo ALT Violin 2 solo Tremolo ALT2 Violin Plr1 ALT Violin Plr1 ALT2

Violin 1 Solo Sus TRL ALT Violin 1 Solo Sus TRL ALT2 Violin 1 Solo Sus TRL Violin 2 Solo Sus TRL ALT Violin 2 Solo Sus TRL ALT2 Violin 2 Solo Sus TRL

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SOLO STRINGS Violin Plr2 ALT Violin Plr2 ALT2 Violin Plr3 ALT Violin Plr3 ALT2 Violin Section ALT Violin Section ALT2

Viola Viola Plr1 Viola Plr2 Viola Plr3 Viola Section Viola Solo Pizz VEL Viola solo Sus Viola Solo tremolo ÆALT

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Viola Plr1 ALT Viola Plr1 ALT2 Viola Plr2 ALT Viola Plr2 ALT2 Viola Plr3 ALT Viola Plr3 ALT2 Viola Section ALT Viola Section ALT2 Viola Solo Pizz VEL ALT Viola Solo Pizz VEL ALT2 Viola solo Sus ALT Viola solo Sus ALT2 Viola Solo tremolo ALT Viola Solo tremolo ALT2

Viola Solo Sus TRL ALT Viola Solo Sus TRL ALT2 Viola Solo Sus TRL

Cello Cello Plr1 Cello Plr2 Cello Plr3 Cello Section Cello Solo Pizz VEL Cello Solo Sus Cello Solo Tremolo

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ÆALT

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Cello Plr1 ALT Cello Plr1 ALT2 Cello Plr2 ALT Cello Plr2 ALT2 Cello Plr3 ALT Cello Plr3 ALT2 Cello Section ALT Cello Section ALT2

Cello Solo Sus TRL ALT Cello Solo Sus TRL ALT2 Cello Solo Sus TRL

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SOLO STRINGS Cello Solo Pizz VEL ALT Cello Solo Pizz VEL ALT2 Cello Solo Sus ALT Cello Solo Sus ALT2 Cello Solo Tremolo ALT Cello Solo Tremolo ALT2

Double Bass Dbl Bass Plr1 Dbl Bass Plr2 Dbl Bass Plr3 Dbl Bass Section Dbl Bass Solo Pizz VEL Dbl Bass Solo Sus Dbl Bass Solo Tremolo ÆALT

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Dbl Bass Plr1 ALT Dbl Bass Plr1 ALT2 Dbl Bass Plr2 ALT Dbl Bass Plr2 ALT2 Dbl Bass Plr3 ALT Dbl Bass Plr3 ALT2 Dbl Bass Section ALT Dbl Bass Section ALT2 Dbl Bass Solo Pizz VEL ALT Dbl Bass Solo Pizz VEL ALT2 Dbl Bass Solo Sus ALT Dbl Bass Solo Sus ALT2 Dbl Bass Solo Tremolo ALT Dbl Bass Solo Tremolo ALT2

Dbl Bass Solo Sus TRL ALT Dbl Bass Solo Sus TRL ALT2 Dbl Bass Solo Sus TRL

SECTION STRINGS Violins Violins Arco Violins Pizzicato VEL Violins Short VEL Violins Sus Violins Tremolo ÆALT Violins Arco ALT Violins Arco ALT2 Violins Pizzicato VEL ALT Violins Pizzicato VEL ALT2 Violins Short VEL ALT Violins Short VEL ALT2 Violins Sus ALT 35

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SECTION STRINGS Violins Sus ALT2 Violins Tremolo ALT Violins Tremolo ALT2

Violas Violas Arco Violas Pizzicato VEL Violas Short VEL Violas Sus Violas Tremolo ÆALT Violas Arco ALT Violas Arco ALT2 Violas Pizzicato VEL ALT Violas Pizzicato VEL ALT2 Violas Short VEL ALT Violas Short VEL ALT2 Violas Sus ALT Violas Sus ALT2 Violas Tremolo ALT Violas Tremolo ALT2

Cellos Cellos Arco Cellos Pizzicato VEL Cellos Short VEL Cellos Sus Cellos Tremolo ÆALT Cellos Arco ALT Cellos Arco ALT2 Cellos Pizzicato VEL ALT Cellos Pizzicato VEL ALT2 Cellos Short VEL ALT Cellos Short VEL ALT2 Cellos Sus ALT Cellos Sus ALT2 Cellos Tremolo ALT Cellos Tremolo ALT2

Basses Basses Arco Basses Pizzicato VEL Basses Short VEL Basses Sus Basses Tremolo ÆALT 36

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SECTION STRINGS Basses Arco ALT Basses Arco ALT2 Basses Pizzicato VEL ALT Basses Pizzicato VEL ALT2 Basses Short VEL ALT Basses Short VEL ALT2 Basses Sus ALT Basses Sus ALT2 Basses Tremolo ALT Basses Tremolo ALT2

Full Strings Full Strgs Arco Full Strgs Pizzicato VEL Full Strgs Short VEL Full Strgs Sus Full Strgs Tremolo ÆALT Full Strgs Arco ALT Full Strgs Arco ALT2 Full Strgs Pizzicato VEL ALT Full Strgs Pizzicato VEL ALT2 Full Strgs Short VEL ALT Full Strgs Short VEL ALT2 Full Strgs Sus ALT Full Strgs Sus ALT2 Full Strgs Tremolo ALT Full Strgs Tremolo ALT2

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Directory of Combinator Instruments in Personal Orchestra COMBINATORS WOODWINDS Flutes Flute NV Solo x4 Flute Solo Switch Flute Solo x4 Flutes 3+1 Piccolo Solo x4

Oboes and English Horn English horn Solo x4 Oboe Solo x4 Oboes 3+1

Clarinets Bass Clarinet Solo x4 Bb Clarinet Solo x4 Bb Clarinets 3+1

Bassoons Bassoon Solo x4 Bassoons 3+1 Contrabassoon Solo x4

BRASS French Horns French Horn Solo x4 French Horns 3+1

Trumpets Trumpet Solo x4 Trumpets 3+1

Trombones Trombone Solo x4 Trombones 3+1

Tuba Tuba Solo x4

HARPS Harp Blender

SOLO STRINGS Violin Violin Solo Switch Violin solo x4 Violins 3+1 38

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COMBINATORS Viola Viola Solo Switch Viola solo x4 Viola 3+1

Cello Cello Solo Switch Cello solo x4 Cello 3+1

Dbl Bass Dbl Bass Solo Switch Dbl Bass solo x4 Dbl Bass 3+1

SECTION STRINGS Violins Violins Blender

Violas Violas Blender

Cellos Cellos Blender

Basses Basses Blender

Full Strings Strings Blender

REVERB COMBINATORS Reverb A Reverb B Reverb C Reverb D

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Specific Notes on GPO-Reason Instruments The majority of GPO-Reason instruments follow the rules and patterns described in the above sections. However, some instruments implement specific features to take advantage of Reason’s flexibility and available controllers.

FLUTES The Solo flute and piccolo instruments use vibrato samples. Increasing Aftertouch, in this case, will produce a “flutter” effect on these instruments. The Plr and Section patches, on the other hand, use non-vibrato samples, as would a real flute section. A special Flute Solo Switch Combinator is provided to allow switching between vibrato, non-vibrato, and piccolo samples.

HARPSICHORD The harpsichord responds to the Mod Wheel by mellowing its sound (removing treble) as it is moved upwards. Aftertouch has no effect on the harpsichord. A separate NN-XT patch is provided for a phase-free double harpsichord.

PIPE ORGAN The Aftertouch control on the pipe organ fades in an octaved treble stop for extra brightness in the sound. Note that the pipe organ does not respond to Key Velocity in any way.

STEINWAY PIANO The Steinway Piano responds to the Mod Wheel by mellowing its sound (removing treble) as it is moved upwards. Aftertouch has no effect on the piano.

SOLO STRINGS Solo String instruments each include Sustain, Tremolo, and Pizzicato articulations. Their provided Combinators allow easy switching between these articulations within a single sequencer track. Increasing Aftertouch on Solo Strings will introduce a small bit of variable pitch and timbre into the instrument sound, such as to sound richer in a section context.

SECTION STRINGS Section String patches each include Sustain, Short, Arco, Tremolo, and Pizzicato articulations. Their provided Combinators allow easy switching between these articulations within a single sequencer track. “Full Strings” NN-XT patches and a Combinator are provided that pull samples from all of the string sections in order to give you a continuous range of notes across the keyboard. 40

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Advanced Techniques: Optimization and Customization Since Reason allows you to modify patches to allow you to make the most of its modular environment, you’ll probably eventually decide that there are some things about GPO-Reason that you’d like to change to better match your working habits and personal style. Here are some tips on areas you might want to look into.

OPTIMIZATION Reason is a highly optimized and efficient music creation system, but there may be times when it can tax the CPU and memory limits of your computer. This is especially true of simulating large orchestral groups that can have between 50 and 100 musicians! In order to alleviate some of this resource strain, try these techniques.

Adjust Engine Buffer Size (Latency) The Reason audio engine allows you to change its responsiveness. Immediate response requires more CPU, so if you’re suffering from CPU overload you can always trade off on response time. This is also known as “increasing your latency”. In the “Preferences…|Audio” menu, you can raise the “Buffer Size” control to compensate for crackling and slowdown in the engine. As your sequence is playing, increase the Buffer Size until playback is smooth once again. As you do this, you’ll see the related “Output Latency” reading (measured in milliseconds) also increase. This is the time it takes between pressing a key on the keyboard and hearing the result in Reason. If latency is too high, then playing in real-time might become difficult or otherwise feel unnatural, but this can be a quick and easy solution if you are doing most of your work in the piano roll or controller lanes. NOTE: If you are operating Reason through ReWire, your other sequencer/host will have the control over latency settings.

Bypass Mix Effects While you’re composing, you don’t necessarily need to hear the instruments as they’ll sound in the final mix, since the actual notes are more important than their sound. Bypassing effects such as reverbs and EQs can reduce your processing load until it’s time to mix.

Bypass or Remove Combinator FX Similar to above, each of the brass and woodwind Combinators has an EQ unit for the “Tone” control, and the choir Combinators use compressors for gain normalization. Using the “Bypass all FX” button on the Combinator interface can save CPU cycles if you don’t need them while composing. Furthermore, you could also delete the “Tone” EQ entirely if you don’t plan to use it at all. 41

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Trim Down Combinator Instrument Variations Each of the non-reverb Combinators contain several variations of the same instrument to allow you access to easy selection and automation in your sequences. If you don’t need one or more of these variations and are running out of available RAM such that your OS is getting slowed down with virtual memory disk “swapping” or “thrashing”, you can delete the ones you won’t be using. If you’re not sure, as a half-way step to this you can right-click on the appropriate NN-XT sampler and select “Initialize Patch”. This will unload all of the samples in the module, but still keep its internal routing in case you think you might need it later. If that happens, just load a new NN-XT patch into the module and it will be synced into the Combinator once again. “Solo x4” Combinators are a likely candidate for trimming. Most often you will want to select only one or two of the internal variations to work with. Similarly, “Solo Switch” and “Blender” Combinators contain 4 articulations, or which you might need only 2 or 3. Removing the extras will save quite a bit of RAM!

Use “Plr” Patches Instead of “Solo” “Solo” NN-XT patches are chromatically sampled for more realism. If you’re running out of memory, you could load a “Plr” patch into the same sampler as a place-holder while you’re composing, as it generally contains one third of the samples of a “Solo” patch.

Reduce Polyphony To save some more processing power, you can reduce the polyphony of “RNG” patches or other instruments with long-decay tails. This will be generally less noticeable if the instrument is playing in a large group that “buries” the tail of the instrument, but might stick out in a solo or sparse context. Just select all the zones and adjust the “Key Poly” box in the Group edit controls.

Turn Off High Quality Interpolation Each NN-XT sampler has a switch for “High Quality Interpolation”. This allows for pitch transposition with less noticeable “artifacts” (slightly perceptible hints of artificiality). However, it does take a little extra CPU power to manage. This feature is set “on” by default. Turning it off can save some extra processing cycles. Moreover, this effect of this feature is less significant on chromatically sampled instruments, so turning it off on “Solo” instruments will be less noticeable than on “Plr” instruments (which have to stretch the original sample pitch over a greater range).

CUSTOMIZATION Feel free to dig into GPO-Reason’s programming to tailor it to your own needs! Here are some ideas for where to start, but the total possibilities are limited only by your imagination.

Changing Default Secondary Controller The default secondary controller for GPO-Reason NN-XT patches is Aftertouch (also known as “Mono Aftertouch” or “Channel Pressure”). However, you also have the capability to change it to Expression 42

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(MIDI Continuous Controller #11) or Breath (CC #2). This comes in handy if you have a keyboard without Aftertouch, but allows you to reassign various knobs or sliders.

Global Controls Each NN-XT module has a series of knobs at the top in the “Global Controls” section. You can tweak these knobs by hand or even automate them to sculpt your sound. (In fact, this is what many Combinator knobs utilize internally.)

Polyphony “Solo” instruments have their Polyphony set to 2, in order to allow some overlap between contiguous notes. However, you might want to use a chromatically sampled “Solo” patch to play chords with more samples for variety. To increase the Polyphony to allow this, select all the zones and adjust the “Key Poly” box in the Group edit controls.

Pitch Range The range of each programmed instrument is limited to the range of a typical human player. However, sometimes you might want to go a little bit higher or lower than usual, either to simulate a particularly gifted musician or for special effect. To do this, open the NN-XT editor, select the sample zone at the end of the range, and drag the endpoint to the extent that you desire.

Pitch Bend The pitch bend wheel defaults to 2 semitones for most instruments. You can easily change this by selecting all zones in an instrument and adjusting the “Pitch Bend Range” box in the editor. Changing the range to 1 would allow more sensitivity for playing techniques like “scoops”, while increasing to around 6 would allow glissando effects for trombones and strings.

Reverb Combinators The internal structure of a Reverb Combinator is based around two RV7000 reverb modules. The advantage of using them in a Combinator is that they’re processed in parallel (without using two Aux slots) and you can save your tweaks as a new preset. Reverb Combinators allow for a great degree of experimentation. You’ll definitely want to try replacing the settings on the internal RV7000 modules with presets, at first. Audition combinations of short and long reverb profiles, as well as increasing the Predelay amount (via the Remote Programmer mode, Reverb page) for just one of the units. In this manner, you can model more “interesting” spaces than simple rectangular rooms and halls, such as venues with balconies, mezzanines, or side chambers. Particularly expert users can continue experimenting with all parameters available, adding external effects, or even attempt routings that use the RV7000’s gate functionality.

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