Garritan gofriller cello manual

The resulting sound is that of a single instrument with extraordinary levels of realism and expressiveness while preserving the natural characteristics of the instrument. There will be the natural timbre changes while the note is playing in response to a continuous midi controller, across a virtually infinite number of dynamic levels, ranging from pianissimo to fortissimo.

This is the first time any sample-based library has used this technology and is another milestone in software instruments. Sophisticated programming allows for a completely automated portamento and legato in response to very basic playing techniques. Real time shaping of articulations is achieved by using a modular sample structure, involving separate attacks, sustains and release-triggered notes, with individual response to various midi controllers.

All the above solutions have been simultaneously implemented to create this virtuosic instrument, the Gofriller Solo Cello. The Stradivari Solo Violin 2. The midi processor. For example, a simple note overlap will be converted to a portamento between the previous and the next overlapping note. The portamento rate and timing are determined by both the pitch interval and the note-on velocity, varying from full portamento, to partial portamento, to a pure legato depending on velocities.

The midi processor simulates the complex behaviour of a real instrument starting from relatively simple playing techniques. The sampler. Along with the Stradivari Violin, the Gofriller Solo Cello is the only virtual solo instrument that allows for continuous transition across various dynamics by crossfading solo samples with no phase artifacts. The samples are pre-processed by a very complex transformation, which essentially synchronizes the phase of all sustain samples for a note while preserving the original sound quality.

These pre-processed samples are the basis for getting full expression control. The convolution engine. Convolution is normally used to add room ambience to a sound. This latest version features low latency convolution which results in a much faster, more intuitive response to live playing.

Real-time sound shaping is acheived by using a sequence of three elements for each played note: the attack, the sustain, and the release-triggered note. All notes are chromatically sampled with multiple takes. Sustains are chromatically sampled and unlooped. Each sample is about eight seconds long. This means a continuous transition across the dynamics may be carried out while the Continuous transition from senza-vibrato to vibrato is also made possible by advanced programming in addition to convolution with a modal impulse response.

The result is a realistic vibrato, where the onset, and the intensity and rate are under user control. Real-time shaping of vibrato is essential to the expressive sound of a cello. The midi processor script controls when they are to be played when they should be stopped or continued, or to reproduce the behavior of the real instrument. You can play sharp attacks followed by pp sustains like a sforzando , or very soft attacks followed by strong sustains portato.

Keyswitch-based articulations give additional expressiveness. The sustain pedal triggers bow change mode, with or without portamento and legato. Becoming a Virtuoso The very best sampled solo cello library is at your command and you are the virtuoso.

With these captivating samples you can impart vibrato, shape phrases, direct intensity and instantly direct changes in playing techniques — just like a true virtuoso.

Achieving a realistic and commanding performance is a learned skill that requires knowledge of orchestration, string playing techniques, nuances of the instruments and performance skills. The capabilities of this virtual instrument can be as wide-ranging as your imagination.

Try to think like a cellist instead of a keyboardist. With the number of performance choices, high quality samples and expressive controls available, you can become more creative and explore uncharted musical dimensions. The old ones are getting scarcer and the new ones more and more wonderful. In sampling it is used to describe discrete snapshots of sound. Some tones have sharp attacks, brief durations, and quick releases.

Others emerge slowly, last for several seconds, and decay gradually. Bowing is responsible for the length of a tone, its articulation separate or connected , and its volume dynamics.

The bow is the implement used for playing a stringed instrument and has many rough horsehairs stretched from one end to the other. When a string player scrapes these across a tense string, the string naturally vibrates.

These and other bow strokes, as well as bowing speed and the amount of pressure applied greatly shape the sound of the instrument. It takes years of practice for a string player to acquire good bowing technique. It also takes a certain degree of mastery to play the various bowing choices and to understand why a certain note should be played up-bow or down-bow, slurred or separated.

With legato phrasing, the sustained notes are usually played with a single bow stroke or with bow strokes that do not expose the change of direction. Legato is often notated with a phrase mark slur over or under the melodic passage. The mute is a small wooden piece clamp that dampens the strings near the bridge.

Played on the string, the bow starts and stops on each successive tone, which results in a clear separation of tones. Staccato is used frequently in rhythmically charged passages. The notation for staccato is typically a dot or vertical stroke staccatissimo above or below the note. This articulation is often used in aggressive and emphatic passages and is typically played at louder dynamic levels. In common practice, the player often uses the down-bow to accent the notes.

The player usually reads this as an instruction to attack the string with the strongest accent possible.

Spiccato is often used in light, spry and quick passages, as well as in softer dynamic ranges. According to some orchestration pedagogues, spiccato has up-bow and down-bow versions, called staccato volante and saltando, respectively. The typical notation of portato is a dash tenuto mark above or below each note with a slur spanning the group of notes, often at the same pitch.

Bowed unmeasured tremolo involves moving the bow back and forth on the same note in rapid succession. This technique sounds shimmering when played pianissimo and agitating at forte. Trills are usually accomplished with one bow stroke, as most of the trill action is accomplished with the left hand. A Half-Step Trill is the alternation between two notes that are a half step apart.

A Whole-Step Trill is the alternation between two notes that are a whole step apart. Trills can be played at various intervals depending on the skill of the player. This technique is common to strings as players often slide to a note for expressive purposes. The proper use of portamento can produce virtuosic performances.

Depending on the height or velocity of the drop, the bow may bounce and rebound three to six times before resting. Natural Harmonics correspond to the natural overtone series of a vibrating object, such as a cello string. Double stops work best when they are short and bowed aggressively.

In the following pages, we will describe how to play many of these techniques. With practice, you can perform many virtuosistic techniques, as a real cellist does, and you can hear the musical results while you play.

When you press a key in the Key Switch area, the instrument will change to the desired mode patch. Although it may be tempting to use your mouse to trigger one of the displayed Keyswitches in Kontakt Player 2, it is seldom recommended. When recording a track or entering notation, use your external MIDI keyboard to record the key switch note or manually enter the key switch note into your tracks. The Gofriller instrument is controlled by 12 keyswitches C1 -B1 , according to the following scheme:.

The midi script automatically plays in polyphonic mode up to 4 notes can be simultaneously played if the time interval between key presses is below 20 milliseconds. If the time delay between the start of overlapping notes is above this threshold, the In this case the transition between subsequent notes will be portamento or legato, depending on the note-on velocity of the second note.

On low note-on velocities, you will get slow portamento. This means that upon releasing the overlapped note, the previous held note will be played again. This allows to execute perfect trills with variable amount of portamento, without the need of a dedicated trillo keyswitch. Trills are played as a real cellist would do, by holding the main note down, while rhythmically overlapping the trill note. Essentially identical to C1 but with sordino sustains. Selects staccato as the default attack.

Attack sharpness and intensity are mainly linked to note-on velocity, and, to a lesser degree, to CC Selects marcato as the default attack. Normal samples, i. It can also be used to get fast repeat note passages with attacks. Sustains are automatically activated when holding a note down for more than 90 milliseconds, which allows automatic switch to mono mode.

Repeat tremolos, with automatic switch to sustain mono mode are feasible as well. Three dynamics, responding to note-on velocity. Non-existing harmonic sounds are muted on the keyboard. Although structurally very complex, the instrument becomes remarkably easy to play for anyone familiar with a digital keyboard. Many functions are intuitive, other are easily discovered and mastered. Remember that you are not going to play any pre-formed sample.

If you simply press a key, without acting on the expression pedal or the modulation wheel, you will probably get just a lifeless senza vibrato sound with a constant timbre, corresponding to a single dynamic layer.

You must play the Gofriller Solo Cello like a real instrument and impart life by performing with it. After all, the best cellists were not cell makers. You have the instrument. Activate the C1 keyswitch default. Set the mod wheel to the minimum level. Play a single note with the expression pedal at the minimum, then gradually push it to its full extent.

The rate of transition across the dynamics will be related to the speed by which you increase the foot pressure. Now play the same note gradually moving the mod wheel to its full extent.

You will hear a transition from senza-vibrato to full vibrato. Now play the same note, add vibrato and apply a progressively increasing pressure aftertouch on the key. You will hear a progressive increase of vibrato rate. Repeat step 3, but this time pushing the expression pedal forth and back. Now play the same note by acting on all three controllers in a coordinated way. You will discover that you have gained full control on dynamics and vibrato of the Gofriller Solo Cello.

The default attack is a bouncing staccato, very suitable as a general purpose, light and fast attack. The intensity and sharpness of the attack are mainly linked to note-on velocity, while the subsequent sustain is controlled by the expression pedal.

Activate either C1 default or E1 staccato keyswitches. Set the mod wheel to the minimum. Play a note by very short strikes, while progressively increasing note-on velocity. Activate the C1 or E1 keyswitch. Set the expression pedal to the minimum. You will hear a soft sforzato attacks, as if the player would immediately decrease bow pressure after a short attack.

Try the opposite approach:. Set the expression pedal to a somewhat low value. Play a note using a low note-on velocity, and holding the key down. The other built-in attacks are marcato, a heavier, longer attack ending on the string. Select this attack by the F1 keyswitch and repeat all sequences described above. You will hear a series of short, marcato-like attacks and downbows with stronger or lighter accent.

Again, use the pitchwheel before the attack, and the mod wheel and channel aftertouch immediately after the attack for a virtually endless variety. Select this attack by the F 1 keyswitch. Activate C1 default keyswitch. Play a note, holding down the key to get the sustain. Now repeat the above sequence several times, gradually increasing the velocity of the second note.

You will hear a progressively shorter, faster portamento, getting into a true legato at higher velocities. What if you play a third note while holding down the second one?

Conversely, if several notes are played simultaneously within 20 msec , the instrument will automatically switch to polyphonic mode, and a double or triple stop will be played instead. This will be better described in a next paragraph.

Try the following sequence:. Play an attack, holding down the key to get the sustain. Release all keys. Play a new note, holding down the key to get the sustain. Overlap a second note. You have performed a sequence: staccato — legato — staccato — legato. In fact, by releasing all keys, you set the instrument in a staccato mode, that is, the next note will be played with an attack. In the latter mode each incoming note-on velocity determines the portamento rate and the automatic switch to legato on higher velocities.

TIP: Very realistic glissandi may be obtained by overlapping two notes over a wide interval, using a low note-on velocity, and interrupting the portamento by releasing all keys before it reaches the destination note. Immediately before pressing the overlapped note, add a slight pitchbend in the opposite direction of that of portamento, i.

Bring the pitchwheel to the reset position during, or immediately after portamento. This is an important technique, much used by string players. This has been impossible to reproduce so far. Advanced AI techniques are used to identify the shortest path. This is more easily accomplished by using the sustain pedal. Press the sustain pedal CC Release the sustain pedal.

You will hear a bichord, follow by a portamento to the second bichord. The portamento rate will be dependent on note-on velocities of the second bichord.

A series of portamento bichords can be obtained by repeating steps 3 —5. Bichords, indeed. In fact, when a new note is played on the same string, the release-triggered sample needs to be muted.

Conversely, if the new note is played on another string, the release-triggered sample must keep on playing. Also, after a double stop, the release-triggered samples of both notes should be played upon relesing all keys. This is the behavior of the real instrument, and it is exacly what happens with the Gofriller Solo Cello, greatly enhancing the overall realism. The volume of the release-triggered sample is linked to CC Try for example the following sequence:.

Set the Expression Pedal to an intermediate position. When two or more notes are played simultaneously, i. This means that the instrument will temporarily switch to polyphonic mode. On the next note, however, it will return to the default mode. And if you want to play a polyphonic sequence? Polyphonic mode is activated by keyswitch D1. Activate D1 Poly Mode keyswitch. Play an arpeggio, with a slight overlap of subsequent notes, which means releasing the previous key shortly after playing the new note.

Very realistic arpeggios, and any combination of arpeggios and chords can be easily obtained. In fact, Polyphonic mode may yield more realistic effects when playing notes on different strings, such as chords and arpeggios. Try the following:. Set the Mod Wheel to an intermediate position. Play a note, holding down the key Press the Sustain Pedal Release the key and play it again. However, the retriggered note is preceded by a bow change attack, and is slightly and transiently pitchmodulated downwards, mimicking the behavior of the real instrument.

Both the intensity of the attack and the degree of pitch modulation are linked to the Expression Pedal, so they are much more evident at higher dynamics. Releasing the Sustain Pedal will restore the previous mode.

New Bowchange Features: In the standard version 1. Moreover, slurred legato on the same string may not involve any bowchange at all. The bowchange is still activated by CC Hovever, it is audible on repeated notes only. This technique is very easily mastered, and works equally well in real time and with a sequencer.

Play a note, holding down the key. Press the Sustain Pedal. Release the key and press it again. This can be reproduced by pulling back or forth the Expression Pedal before retriggering the note. Also, you may prefer to decrease vibrato intensity during the bow change, to increase it immediately thereafter.

Please consider that this technique needs much experimentation to get optimal results. TIP: The bowchange feature also works on repeated bichords. Conversely, keyswitch D 1 activates Con Sordino playing in polyphonic mode. This because retriggering mode has been implemented. Trills are played as a real cellist plays them, holding down the main note while repeatedly overlapping the trill note.

Any trill interval can be used. Moreover, both the main and the trill note may be changed during a trillo sequence. The last held note will always work as the main note. Play a note, holding it down. TIP 1: Trills with variable amounts of portamento can be obtained by varying the overlapped note-on velocity. Higher velocities yield pure legato trills. TIP 2: Realistic crescendo or decrescendo can be created by acting on the expression pedal while executing the trill.

Tremolo is obtained by rapidly pressing and releasing the note, in a way conceptually similar to what the cellist does by using a fast to and fro motion of the bow. This allows you to play multiple tremolos within a legato sequence, without the need of repeatedly deactivating and reactivating tremolo mode by keyswitching.

Activate A1 tremolo keyswitch. Repeatedly and rapidly play a note. Hold down the same note. Play another note, holding down the key. Realistic crescendo or decrescendo can be created by acting on the expression pedal while executing the tremolo. The sustain pedal is not active on this patch. Pizzicato has been chromatically sampled at three dynamics. The patch responds to note-on velocity, and each note is played until the key is released.

Pizzicato is often used with no vibrato. Pizzicato notes are held as long as the sustain pedal is pressed for easier real time playing. This includes all harmonics for each string.

TIP: Non-existing harmonic sounds are muted on the keyboard. This means that you may gradually morph from a senzavibrato sound to full vibrato by acting on this controller.

The vibrato rate is controlled by Channel Aftertouch. You may vary the vibrato rate from the basic 5. You can further modulate vibrato by acting on the Pitchwheel. You therefore shape the vibrato waveform in real-time by using the mod wheel and aftertouch controllers.

You have to use these controllers in order to get a realistic vibrato. This concept cannot be over-emphasized. In fact, the vibrato of a real cell is never too steady, neither in depth or frequency, and its waveform is also slightly variable over time.

This can only be mimicked by acting on the above controllers. Set the Mod Wheel to the maximum value. Apply minimal pressure to the key Channel Aftertouch.

You will hear a steady vibrato, approximately 5. Modify the sequence in the following way:. At the same time apply variable pressure on the key. You will now hear a much more expressive and realistic vibrato, with variable depth and variable rate.

By simultaneously acting on the expression pedal, you may also change the dynamics during vibrato, adding further expressiveness. Despite the apparent complexity, mastering these vibrato techniques is essential to mastering the instrument. NOTE: The default range of vibrato rate will be probably suitable to most needs. There are circumstances, however, such as the necessity for a slower rate, or an excessive sensitivity of Aftertouch, where a lower range may be preferable.

Inhibition of vibrato during portamento. Usually, when executing a portamento, a cello player will not add vibrato. You will notice that the Gofriller Solo Cello behaves in the same way, i. Inhibition of vibrato during rapid pitch changes. A cello player may choose to maintain vibrato while slightly detuning a note. The Gofriller Solo Cello exactly reproduces this behavior. You will notice that slow detuning by the Pitchwheel does not inhibit the ongoing vibrato. While keeping down the key, start a negative pitchbend, slowly moving the Pitchwheel to about a quarter of the full run.

Also try a slight decrease of the dynamics by pulling back the expression pedal during the pitchbend. While vibrato rate can be directly controlled by the player using channel aftertouch, there may be circumstances where a certain degree of automatic variation may be desirable. A scriptdriven pseudorandom generator accomplishes this task. Bow noise of the real instrument depends on several factors, including bow type, angle, pressure, speed, and the amount of rosin.

It is always active, even during portamentos, to allow for complete pitch control. This means that you can play a slightly sharp-ending portamento followed by a quick retuning, or you can compensate an initial pitchbend, bringing the pitchwheel to the rest position during portamento, as described above. This helps overcome the limitations of keyboards and provides continuous and not only discrete pitch control.

Bowed string instruments, being fretless, may generate notes at any pitch within the instrument range. Moreover, the pitch can be continuously varied while the note is being played. We report some considerations on the advantages and limitations of the controllers employed. Expression Pedal: This necessary controller is a relatively inexpensive and intuitive midi controller of widespread use, especially among live musicians.

In its simplest form, its main limitations consist of a rather slow response and of the fact that it remains in the latest played position. More advanced pedals may overcome these limitations. NOTE: Check that your expression pedal has a linear response. It may be also fatiguing on a constant use. While unsuitable for controlling the vibrato intensity, it proved a reasonable approach for vibrato rate control. TIP: If supported by your keyboard, a second expression pedal can be an excellent alternative.

It may be linked to vibrato intensity, while vibrato rate may be controlled by the modwheel. NOTE: Make sure your expression and sustain pedals are connected to the keyboard and properly mapped to cntrl 11 expression and sustain pedal, respectively. And be certain that your keyboard extends down to C1, and is equipped with both a pitch wheel and mod wheel, properly mapped to pitch wheel and cc 1 modulation , respectively.

This allows you to use the Kontakt 2 convolution engine with a low latency, very suitable for real time playing. These IR are thus appropriate either for standalone use or with any reverb or convolution-based ambience effects. The choice of the IR is thus a matter of personal preference. TIP: Convolution with a large ambience is best carried out with an independent convolver, applied to the output of the instrument s.

This dual convolver approach involves much less CPU load. The Script Graphical Interface on the right of the instrument panel allows to input the desired settings for several user-controlled parameters, and provides information on the mode of operation of the instrument.

By turning the knob you can modify the minimum vibrato rate, from the default 5. The second item of the drop down menu PB Vibr Inhibit sets the Threshold for vibrato inhibition during pitchbends. The default value is The third item Vibr Rate Rand sets the amount of random changes of vibrato rate. By selecting the fourth item Bow Noise , you set the relative amount of bow noise.

The default value is 64, and the allowed range is 0 to This means that bow noise can be controlled in real time for enhanced expressiveness.

The upper panel shows the keyswitch-activated mode. TIP: Vibrato rate should be controlled by channel aftertouch. Moreover, the instrument has been properly programmed to maintain phase coherence under any circumstance. Any attempt to modify either the samples or the programming may easily lead to catastrophic results.

The Kontakt Player 2 allows you to load and customize the Gofriller Solo Cello sounds to be used for playback. This section will familiarize you with the Kontakt Player interface. It can get a little technical but stay with it. The Browser gives you the capability to navigate through the library or libraries , as well as view engine information and assign automation.

In the screenshot besides, the Browser is opened to the Libraries tab. For each library, there are Instruments, Multis, and Info menu. These three menus allow you to navigate through the library.

Instruments are the basic patches that are created for you to use and Multis are combinations of various instruments. If you click on the Instruments button, all instruments will be displayed below in the Browser.

If you click on the arrows just to the right of either button, the contents of the library will appear in an easyto-use hierarchical menu. If you click on the Multis button especially with other libraries , all Mulits will be displayed in the Browser. The Info tab brings up additional information about the library such as Updates, Registration, Forum and Support. In the submenu under the Libraries tab are a few buttons. There is a refresh button to refresh the Browser and an eject button to eject an optical disc.

Kontakt Player 2 is not able to load general Kontakt patches, nor is it able to import libraries from other formats. To do these things, you must own the full version of Kontakt 2. Engine Tab Clicking on the Engine tab brings up information about how the Kontakt engine is performing.

This information is updated in real-time, so you can watch exactly how it behaves under various conditions e. The upper four buttons Browser, Outputs, Keyboard, and MasterKontrol toggle the visibility of these four areas of the program.

Browser Section: The Browser has been discussed above; we will now look at the other three areas individually. Output Section: When you click the Output button, the Output window appears at the bottom of the rack. The output channel features, going from left to right across the top, are: Click on Delete Channel to delete.

These output mappings are saved to the Kontakt Player 2 application directory inside the Defaults folder. You can edit the Channel Name, but also, the number of audio channels click on the Audio Channels parameter, then drag it up or down. Each channel shows up in a list. Click on a physical output to assign it to a Kontakt Player 2 virtual output. Keyboard The Keyboard button displays an onscreen virtual keyboard which features tinted keys, which can be helpful in auditioning the sounds of the instrument.

Keys which have samples mapped on them are tinted blue, and keyswitch keys are tinted red. Before starting your appliance, the user manual should be read through carefully. Follow all the safety instructions and warnings, and be guided by the given recommendations. Following the instructions for use is an essential prerequisite for protecting health and property during use, as well as recognition of liability on the part of the manufacturer for possible defects should you make a warranty claim.

Product description Personal Orchestra 5 from Garritan is an orchestral sample library that delivers the complete range of orchestral instruments, including strings, brass, woodwinds, percussion, and keyboards. The library is designed to allow the creation of numerous instrument combinations, each capable of playing a separate part. Sections or a complete orchestra can be built one instrument at a time, or pre-configured instrumental combinations can be accessed via the Ensemble Manager.

This new edition continues in the tradition of past versions but with vastly expanded instruments and the offering of new techniques, performance spaces and reverbs, and instrument body resonances.

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