SYMPHONY SERIES WOODWIND SOLO Manual PDF

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Document authored by: Adam Hanley

Software version: 1.0 (06/2016)
Special thanks to the Beta Test Team, who were invaluable not just in tracking down bugs, but
in making this a better product.
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Table of Contents
Table of Contents
1 Welcome to the SYMPHONY SERIES ........................................................................... 8
1.1 Manual Conventions ................................................................................................................... 8
1.2 About this Document .................................................................................................................. 9
1.3 About the SYMPHONY SERIES of Products .................................................................................. 9
2 Choosing the Right KONTAKT Instrument ..................................................................... 10
2.1 Soloist Master Instrument .......................................................................................................... 12
2.2 Individual Articulation Instrument .............................................................................................. 13
2.3 Quintet Instrument ..................................................................................................................... 14
3 Playing SYMPHONY SERIES Instruments ..................................................................... 15
3.1 Selecting Articulations with Key Switches .................................................................................. 15
3.2 Refining a Recording in Your Host Software ............................................................................... 16
3.3 About Using MIDI Controllers ...................................................................................................... 17
3.4 Performance Controls ................................................................................................................. 18
3.4.1 Dynamics ................................................................................................................... 19
3.4.2 Attack ........................................................................................................................ 19
3.4.3 Release ...................................................................................................................... 19
3.4.4 Tightness ................................................................................................................... 19
3.4.5 Vibrato ....................................................................................................................... 20
3.5 Additional Controls ..................................................................................................................... 20
3.5.1 Repetition .................................................................................................................. 21
3.5.2 Legato ....................................................................................................................... 22
3.5.3 Progress Indicator ..................................................................................................... 22
3.5.4 Round Robin .............................................................................................................. 23
3.5.5 Playback .................................................................................................................... 23
3.5.6 Arpeggio .................................................................................................................... 24
SYMPHONY SERIES WOODWIND SOLO - Manual - 4

Table of Contents
4 Configuring WOODWIND SOLO .................................................................................... 26

4.1 The Articulation Slot Setup View ................................................................................................. 26
4.1.1 Overview of the Articulation Slot Setup (Key Switch) ................................................. 27
4.1.2 Overview of the Articulation Slot Setup (MIDI CC) ...................................................... 30
4.2 Editing Articulations Manually ................................................................................................... 32
4.2.1 Removing Specific Articulation Assignments ............................................................ 35
4.2.2 Removing all Articulations ........................................................................................ 36
4.2.3 Assigning Key Switches to Articulations .................................................................... 38
4.2.4 Assigning Velocity Ranges to Key Switches ............................................................... 40
4.2.5 Assigning MIDI CCs to Articulations .......................................................................... 42
4.2.6 Configuring a Native Instruments Controller to Send MIDI CC ................................... 44
4.2.7 Sending MIDI CC from Your Host Software ................................................................. 46
4.3 Using Macros for Automatic Assignments (Key Switches) .......................................................... 48
4.3.1 Empty all Slots .......................................................................................................... 48
4.3.2 Reset All Start Conditions .......................................................................................... 50
4.3.3 Set Ascending Keys from First Slot ............................................................................ 51
4.3.4 Distribute Velocity Range Equally on Active Slots ...................................................... 53
4.4 Using Macros for Automatic Assignments (MIDI CCs) ................................................................ 55
4.4.1 Empty All Slots .......................................................................................................... 55
4.4.2 Reset All Start Conditions .......................................................................................... 57
4.4.3 Distribute Controller Equally on Active Slots .............................................................. 58
4.5 Ensemble View ........................................................................................................................... 60
4.5.1 Overview of the Ensemble View ................................................................................. 60
4.5.2 Activating/Deactivating Sections .............................................................................. 62
5 KONTAKT Snapshots .................................................................................................. 63
5.1 Saving a User Snapshot ............................................................................................................. 63

Table of Contents
5.2 Loading a Snapshot from the Snapshot Menu ............................................................................ 66

5.3 Loading Snapshots from the File System .................................................................................... 67
5.4 Deleting a User Snapshot ........................................................................................................... 67
6 Audio Mix-down ........................................................................................................ 69
6.1 The Microphone Mixer View ......................................................................................................... 69
6.2 Refining the Master Mix .............................................................................................................. 71
6.2.1 Applying EQ ............................................................................................................... 71
6.2.2 Applying Reverb ......................................................................................................... 73
6.2.3 Applying Comp & Filter .............................................................................................. 75
6.3 Close, Mid and Far Microphone Positions ................................................................................... 77
6.4 Balancing Section Volumes ........................................................................................................ 77
6.5 Balancing Articulation Volumes ................................................................................................. 79
6.6 Transferring Mixer Settings Between Different Instruments ....................................................... 80
7 Performance Optimization .......................................................................................... 82
7.1 General Advice ............................................................................................................................ 82
7.2 Project Economy ......................................................................................................................... 83
7.3 Instrument Economy ................................................................................................................... 83
8 Technical Specs ....................................................................................................... 85
8.1 Recorded Tonal Range ................................................................................................................ 85
8.2 Microphone Positions .................................................................................................................. 85
9 Credits ...................................................................................................................... 86
10 Glossary ................................................................................................................... 88
10.1 Sustains ..................................................................................................................................... 88
10.2 Legatos ....................................................................................................................................... 88
10.3 Staccatos ................................................................................................................................... 88
10.4 Expressions ................................................................................................................................ 88

Table of Contents
10.5 Effects ........................................................................................................................................ 89

10.6 Arpeggios ................................................................................................................................... 89

Welcome to the SYMPHONY SERIES
Manual Conventions
1 Welcome to the SYMPHONY SERIES
Thank you for purchasing SYMPHONY SERIES WOODWIND SOLO. This document will give
you information about the library, as well as step-by-step instructions and advice on how to
achieve the best results with it.
We hope that you will enjoy using the SYMPHONY SERIES products.
1.1 Manual Conventions

This document uses particular formatting to point out special facts and to warn you of poten-
tial issues. The icons introducing the following notes let you see what kind of information can
be expected:
The speech bubble icon indicates a useful tip that may often help you to solve a task
more efficiently.
The exclamation mark icon highlights important information that is essential for the giv-
en context.
The red cross icon warns you of serious issues and potential risks that require your full
attention.
Furthermore, the following formatting is used:

▪ Text appearing in (drop-down) menus (such as Open…, Save as… etc.) in the software and
paths to locations on your hard disk or other storage devices is printed in italics.
▪ Text appearing elsewhere (labels of buttons, controls, text next to checkboxes etc.) in the
software is printed in blue. Whenever you see this formatting applied, you will find the
same text appearing somewhere on the screen.
▪ Important names and concepts are printed in bold.

Welcome to the SYMPHONY SERIES
About this Document
▪ References to keys on your computer’s keyboard you’ll find put in square brackets (e.g.,
“Press [Shift] + [Enter]”).
► Single instructions are introduced by this play button type arrow.
→ Results of actions are introduced by this smaller arrow.
Naming Convention
Throughout this document, we will refer to SYMPHONY SERIES WOODWIND SOLO as just
WOODWIND SOLO.
1.2 About this Document

This document was written in a way that allows you to access information out of order. While
the topics are structured to guide you through the features and usage of WOODWIND SOLO
topic by topic, you can skip ahead at any time.
Jump right in the midst of the document to a topic you're interested in. You shouldn't have to
look up related information to be able to follow any of the workflow tutorials. All relevant infor-
mation is given as part of each description.
1.3 About the SYMPHONY SERIES of Products

SYMPHONY SERIES WOODWIND SOLO is part of the SYMPHONY SERIES of KONTAKT In-
struments. This series supplies composers with a comprehensive tool set for creating highly re-
alistic orchestral productions with an expansive sound full of character.
WOODWIND SOLO allows you to use a production-ready STEREO mix or create your own mix
from CLOSE, MID and FAR microphone positions. On the dedicated Mixer page, a parametric
EQ, convolution REVERB, COMPRESSION and FILTER effects let you adjust the sound to suit
any project you're working on.
Articulations from a comprehensive palette can be switched in real time by freely assignable
Key Switches or MIDI CCs. Five performance controls are pre-assigned to MASCHINE controllers
and the KOMPLETE KONTROL S series of keyboards.

Choosing the Right KONTAKT Instrument
2 Choosing the Right KONTAKT Instrument
WOODWIND SOLO ships with a total of 37 KONTAKT Instruments (.nki files). To help you se-
lect the right one for your specific task, here is an overview of the included Instruments.
Six Instrument Sections

Soloists from six instrument sections were recorded:
▪ Bassoon
▪ Clarinet
▪ Contrabassoon
▪ Flute
▪ Oboe
▪ Saxophone
For each Soloist's Instruments, there's a sub folder in KONTAKT's Library Browser.
Soloist folders in the Library Browser

Six Instruments Per Section

For each of the six Soloists, you'll find six KONTAKT Instruments named after the category of
Articulations contained within. The Flute Soloist, for example, contains the following Instru-
ments:
▪ Flute Effects.nki
▪ Flute Expression.nki
▪ Flute Legato.nki
▪ Flute Staccatos.nki
▪ Flute Sustain.nki
▪ Flute.nki (The Soloist Master Instrument)
Flute Articulations in the Flute Folder
The Quintet Instrument

In addition to the six Instruments per orchestral section, a single Woodwind Quintet.nki Instru-
ment is included which combines all Woodwind Soloists, with the exception of the Saxophone,
into one instrument.

Soloist Master Instrument
The Woodwind Quintet Instrument in the Browser
Now, with such an extensive selection at hand, what is the intended usage of each and which
specific KONTAKT Instrument do you choose in a given situation?
2.1 Soloist Master Instrument

For each section's soloist, WOODWIND SOLO offers one KONTAKT Instrument which lets you
switch in real time between the Articulations most commonly used in contemporary composi-
tion. This Instrument is the quickest and most flexible choice, which you will want to include
in your default template for compositional work.
The Master Instruments can be found in each section's sub folder and are named after the sec-
tion's soloist:
▪ Bassoon.nki
▪ Clarinet.nki
▪ Contrabassoon.nki
▪ Flute.nki
▪ Oboe.nki
▪ Saxophone.nki

Individual Articulation Instrument
The Soloist Master Instruments are optimized for low memory and CPU consumption. In order to
achieve this level of efficiency, a few compromises had to be made:
▪ No time stretching is available.
▪ Legato emulation is less advanced than the dedicated Legato instrument.
▪ No Effects Articulations are included.
To put this into perspective, these are the Articulations which actually are included in the Mas-
ter Instrument:
▪ Sustains (including legato emulation)
▪ Staccatos
▪ Expressions
2.2 Individual Articulation Instrument

For each soloist, WOODWIND SOLO offers five additional KONTAKT Instruments that offer an
extensive selection of Articulations and let you achieve the highest degree of realism. Use
these whenever saving computer resources isn't a concern.
The Individual Articulation Instruments offer all the Articulations of the Master Instrument plus
Instruments for Effects and Legato (including note transition samples for true legato). The In-
dividual Instruments are named accordingly:
▪ Flute Effects.nki
▪ Flute Expression.nki
▪ Flute Legato.nki
▪ Flute Staccato.nki
▪ Flute Sustain.nki

Quintet Instrument
2.3 Quintet Instrument

The Quintet Instrument allows you to play five woodwind soloists in one Instrument, although with
a limited choice of Articulations.
It distributes voices between the different soloists (according to set Section note ranges) for rap-
id sketching of musical ideas. It represents the quickest way of distributing chords across Solo-
ists, playing Quintet swells or massive orchestral stabs.
Inside the Quintet Instrument, you can adjust volume and panorama per Soloist.

Playing SYMPHONY SERIES Instruments
Selecting Articulations with Key Switches
3 Playing SYMPHONY SERIES Instruments
3.1 Selecting Articulations with Key Switches

When loading one of the KONTAKT Instruments, up to 8 Articulations are assigned to the keys
from C0 to G0. These key-switches are displayed as either red, green, cyan or purple keys in
KONTAKT's on-screen keyboard and in the small Articulation Indicators beneath the Articula-
tion label.
Key Switch colors on the on-screen keyboard and the Articulation Indicators
If WOODWIND SOLO is configured to select Articulations by Key Switches, the corre-

sponding keys in KONTAKT's on-screen keyboard are colored according to the respective
Articulation category:
Red: Sustain
Green: Staccato
Blue: Expression
Purple: Effects
↑4, Configuring WOODWIND SOLO contains information regarding the setup of articula-
tions.
On KOMPLETE KONTROL S keyboards, the Light Guide LEDs visualize the Key
Switches by lighting up in the same color.

Refining a Recording in Your Host Software
To select an Articulation by Key Switch:

1. Load the Flute.nki KONTAKT Instrument.
2. Press the C-1 MIDI note on your MIDI keyboard to select the Sustain Vibrato All Articula-
tion assigned to C-1.
3. Play this Articulation using the dark blue range of keys.
4. Press the D-1 key on your MIDI keyboard to select the Staccato Articulation.
5. Play this Articulation using the dark blue range of keys.
KONTAKT's on-screen keyboard with Key Switches
None of these Articulations are just static musical building blocks. Make a habit of us-
ing the Modulation Wheel (MIDI CC 1) to modulate the Dynamics control to record ex-
pressive parts.
In the context of a busy arrangement, these results may already be good enough. In passages
which feature the woodwind more prominently, the discerning listener may still be able to
identify details which give away the fact that you didn't record a live performance.
The solution is to refine the recorded performance in your host software with the provided Per-
formance Controls. For more information on the performance controls, read ↑3.4, Performance
Controls.
3.2 Refining a Recording in Your Host Software

The key to a realistic performance is a combination of three basic methods:
Switching Between Articulations

Articulations are one of the key ingredients of musical expression. Switching Articulations in
WOODWIND SOLO is the equivalent to writing articulation marks in music notation. When com-
posing with WOODWIND SOLO, lay out carefully which Articulations you will need.

About Using MIDI Controllers
Playing Like a Woodwind Player

Watch both the note starts and endings. Depending on the pitch and instrument section, it
takes real-life woodwind instruments varying amounts of time to build up a steady tone (i.e.
Attack) and to fade out (i.e. Release). These differences were recorded and are part of the In-
struments.
Unlike playing a piano library, to achieve accurate timing, you will have to move some notes
ahead of the precise beat by varying amounts, just as real woodwind players compensate by
playing slightly ahead.
Using the Performance Controls

Real time modulation of Performance Controls allows for more realistic performances. Record-
ing automation with the Mod Wheel allows you to access the entire dynamic range of the or-
chestra.
The Mod Wheel (MIDI CC 1) is by default assigned to the Dynamics control and you
should always play expressively with the tonal variations the Mod Wheel affords you.
You can achieve even more realistic results by automating slight variations to the Attack, Re-
lease, Tightness and Vibrato controls, even if the differences appear subtle at first.
3.3 About Using MIDI Controllers

It is highly recommended that you work with a MIDI controller, which lets you perform automa-
tion of the Performance Controls in real time. This way, you will hear the changes immediately,
instead of just drawing automation curves in your host software.
If you load WOODWIND SOLO inside KOMPLETE KONTROL or MASCHINE 2, the Performance
Controls are automatically mapped to the controller's first four knobs. The Dynamics control
defaults to the Mod Strip on your KOMPLETE KONTROL S keyboard, or to the Modulation
Wheel (MIDI CC 1) if used with a generic controller.
All other parameters are available via your host software's automation system. When selecting
the KONTAKT plug-in as the automation target, the Performance Controls are the first four au-
tomation parameters.

Performance Controls
In order to control the Performance Controls with a generic MIDI control device, please
use the mechanism provided by your host to MIDI-control automation parameters.
Cubase: Quick Controls
Logic X: Automation Quick Access
Ableton Live: MIDI Remote
Pro Tools: MIDI CC Automation
3.4 Performance Controls

When you load WOODWIND SOLO, the Performance Controls are the most prominent feature of
the Instrument's user interface. These controls are used to refine a performance to achieve very
realistic results. Thanks to their unified layout, once you understand what they do in one prod-
uct from the series, you'll be immediately familiar with all of them.
The main Performance Controls

3.4.1 Dynamics
The Dynamics control is assigned to the Mod Wheel (MIDI CC 1) by default. It allows you to
control the loudness and intensity of the Instrument in real-time. That way, you can play swells
in any of the Sustain Articulations or easily automate intensity changes to e.g. transition from
leading to supporting passages.
3.4.2 Attack
The Attack control allows you to increase the fade-in time per note to simulate realistic varia-
tions throughout a passage. By setting the Attack time to higher values, you can cause the
notes to fade in more slowly, giving the notes a more solemn and gentle character.
3.4.3 Release
The Release control applies an additional envelope to the fade-out phase of the notes.
Reducing the Release setting to 0% shortens the naturally recorded reverb tails to a minimum,
producing a very "dry" sounding result, which can sometimes make the result sound artificial.
However, this can be very useful when adding internal or external reverb effects, as this allows
the additional reverb to avoid conflicting with the natural sampled ambience.
3.4.4 Tightness
The Tightness control determines the starting point for the playback of a sample. This feature
is extremely useful when used in combination with the Attack control to allow you to cut into
the initial transient for an articulation to allow more precise note attacks.
When increasing the Tightness value to shift playback farther into the sample, it is rec-
ommended you increase the Attack value as well to refine the shape of the note attack.
This control is also useful in the context of playing phrases where the cross-fading of a loud
note to the attack of a following quieter note can cause audible artifacts. This should hardly
ever occur and if it does, Tightness is just one option to improve. Usually, adjusting these
notes' velocities will be sufficient.

Should the occasion arise and you hear any such artifacts, try increasing Tightness starting
from its default of 0%. By cutting off the natural attack phase, Tightness simulates the playing
behavior of an instrument which is already resonating when playing the next note.
3.4.5 Vibrato
The Vibrato control allows you to add natural movement to the sound, which modulates both
pitch and intensity of the note.
3.5 Additional Controls

Below the Performance Controls, you'll find the Articulation selector plus two additional sets of
controls. Depending on the selected Articulation, different combinations of these controls are
available. This is an overview of all controls you will encounter.
Additional Controls
(1) Articulation Selector: This control is visible in every Instrument.

Additional Controls
► Click the Articulation label to open the ARTICULATION SLOTS list.
► Click the Articulation name to assign a different Articulation from the drop-down menu.
► Click any of the eight Articulation Indicator dots to select a different Articulation.
(2),(3) Additional Controls: Depending on which WOODWIND SOLO Instrument you open and
which Articulation type you select, these two fields show different controls, or no controls at
all.
3.5.1 Repetition
Click the small button to the left of the label to activate or de-activate Repetition. A thin ring
shows it's inactive, a solid dot means it's active.
Repetition Controls
When Repetition is activated, every note you play is automatically repeated a number of times
before the note plays out to the end.
Attack: Set the number of repetitions here. Click the button and select one of the numbers
from the drop-down menu.
► Select 2x - 4x for the note to be repeated and then stop.
► Select Run for the notes to be repeated indefinitely.

Speed: Set the speed of repetitions here. Click the button and select a note division value from
the drop-down menu.
Drift: Increase this parameter to add realistic pitch drifting.

Additional Controls
3.5.2 Legato
Click the small button to the left of the label to activate or de-activate Legato. A thin ring
Legato Control Panel
Response: This slider controls the speed of the Legato transition.
► Click and drag the slider to the left for a longer transition time or to the right for a short
transition.
Solo: Only one note is played at a time.
► Duet: This allows two-part polyphonic legato melodies to be played. While sequential
notes are played less than 6 semitones apart, they will be joined together by legato tran-
sitions. If notes are played sequentially with 6 or more semitones between them, they will
play as two completely independent parallel legato melodies.
3.5.3 Progress Indicator

The Progress indicator is only visible for the Expression category of Articulations. The curve
from left to right visualizes how the intensity, volume or pitch evolves over time in the selected
Articulation, while a pointer indicates the playback position.
Progress Display

Additional Controls
3.5.4 Round Robin

Round Robin helps avoid a typical issue associated with repeated playback of a sample. If you
play a Staccato pattern using the same sample for each note, the result will sound static and
artificial.
With Round Robin activated, there are between 2 and 8 alternative samples available for each
note. Playing the first note will trigger sample 1, the second note triggers sample 2 and so on
until every sample position has been played, then it starts from the beginning.
The Round Robin indicator visualizes the selection of the alternative samples, the dot indicat-
ing the sample being played back.
Round Robin Display and Control
Vel. Sense: Click this button to enable velocity sensitivity.
► Activate this button and the velocity of the MIDI note will also affect the dynamic of the
played note. This works in tandem with the Dynamics control, so you can use both to-
gether.
► Deactivate this button and only the Dynamics control will affect the dynamic of the note.
3.5.5 Playback
The Playback parameter is available for Articulations which have a rhythmical aspect like a
half tone up movement or a trill.
Playback Controls

Additional Controls
Natural: Click to select this option to play back the Articulation at the originally recorded
speed. No time stretching is applied.
Sync: Click to select this option to sync the Articulation with your project's tempo. Time
stretching is applied. (Note that is option is not always available, as some articulations are
without rhythm)
Varispeed: Click to select this option if you want free control over the playback speed of an Ar-
ticulation. This is the only mode affected by the Speed slider. Time stretching is applied.
Speed: Click and drag left for slow playback of the Articulation, drag right for fast playback.
The Sync and Varispeed controls activate time stretching, which results in increased
CPU load and RAM consumption. Only activate if time stretching is required
3.5.6 Arpeggio
The Arpeggio section allows you to create fast runs that can be played with a single key, or it
can also be used to break played chords into rhythmic patterns. A thin ring shows it's inactive,
a solid dot means it's active.
Arpeggio Controls
Type: Click to select the chord type to be used in the arpeggio.
► Select a chord to have that chord automatically applied to a single note. For example, if
you select Maj and play a C, the arpeggiator will automatically play as if you were holding
a C major triad.
► Select Trill and the arpeggiator will automatically generate a trill (alternating between one
note and another) based on a specified interval.
► Select Key to play in your own chords, which will then be transformed into an arpeggio by
the instrument.

Additional Controls
► Select Rep and the arpeggiator will repeat played notes by a number selected by the
Count control.
Mode: Click to select the order in which the notes will be played (note that this control is not
available when the Type is set to Rep)
Accent: This control is only available when the Type is set to Rep and replaces the Mode con-
trol. Click to select which notes in the repletion should be accented (played at a higher dynam-
ic level).
Count: Click to select how many notes will be played before the arpeggio ends (note that this
control is not available when the Type is set to Trill).
► Select Run to have the arpeggio play back for as long as the MIDI note is held.
Interval: This control is only available when the Type is set to Trill and replaces the Count con-
trol. Click to select the interval for the trilled notes. For example, if you set this to Maj2 and
play a C, the arpeggiator will alternate between a C and a D for as long as the note is held.
Speed: Click to select the rate at which notes in the arpeggio are played.

Configuring WOODWIND SOLO
The Articulation Slot Setup View
4 Configuring WOODWIND SOLO
Each Instrument in WOODWIND SOLO represents a default selection of Articulations assigned

to Key Switches. You can configure your own collection of Articulations by means of the Articu-
lation Slot Setup view as described in this chapter.
Once configured, you can save your work as a KONTAKT Snapshot for instant recall.
4.1 The Articulation Slot Setup View

To assign up to eight Articulations to either Key Switches or value ranges of a MIDI CC, WOOD-
WIND SOLO provides the Articulation Slot Setup view. This is how you access it:
1. Load Woodwind Quintet.nki.
2. While in the default Performance view, click the Articulation label in the bottom left cor-
ner. This will open the ARTICULATION SLOTS list.
Opening the ARTICULATION SLOTS List

3. Click the Edit button to open the full Articulation Slot Setup. This view will completely
cover the Performance Controls.
→ You can now freely configure Articulation assignments.
Articulation Slot Setup View
4.1.1 Overview of the Articulation Slot Setup (Key Switch)

Depending on whether you assign Key switches or MIDI CC, the Articulation Slot Setup view
offers slightly different sets of controls. This is an overview of the Key Switch setup.

Articulation Slot Setup View (MIDI Key)
(1) Key/MIDI CC selector: The eight Articulation Slots can be selected either by Key (MIDI note)
or by MIDI CC events. Click the respective text label to change this setting for the entire In-
strument. The active option is highlighted.
(2) Articulation Slot Macros: Click the three dots to open the macro menu. Depending on wheth-
er Key or MIDI CC is selected, you'll have access to different convenience features (e.g. assign-
ing ascending key switches to the Articulation Slots automatically).
(3) Edit Button: Click this button to show/hide the full Articulation Slot Setup view.
With Edit inactive, you have limited access to the Articulation Slots, while still being able to
move the Performance Controls with the mouse.

With Edit activated, you get full access to Key/MIDI CC assignments and a visual representa-
tion of selectable Articulations.
(4) Articulation List: This list holds eight Articulation Slots. Each Slot represents a Key/MIDI CC
value, the assigned Articulation, as well as a volume control per Articulation. Key/MIDI CC is
set globally for all Articulation Slots in an Instrument.
(5) Key Assignment selector: Set the MIDI Key which will select this Articulation. Click and drag
up/down to set the Key.
(6) MIDI Learn button: This offers an alternative to manually setting the MIDI Key. Click this
button, then press a key on your MIDI keyboard to complete the assignment.
(7) Velocity Range selector: Multiple Articulations can be assigned to the same MIDI Key. The
selection is then dependent on how much force you apply when playing that key (Velocity).
► Click and drag the value in the left field to set the lowest Velocity (0-127) which will se-
lect this Articulation.
► Click and drag the right hand field to set the highest Velocity (0-127) which will select
this Articulation.
(8) Clear Slot button: Click this button to remove the Articulation assignment from the selected
slot. The samples of unassigned Articulations are automatically purged from RAM. The Key/
MIDI CC setup is preserved when clicking the Clear Slot button.
(9) Articulation Cell: Each of these cells represent an Articulation. Click any of them to assign
that Articulation to the selected Articulation slot.

Red: Sustain
Green: Staccato
Blue: Expression
Purple: Effects
tions.

4.1.2 Overview of the Articulation Slot Setup (MIDI CC)

Depending on whether you assign Key switches or MIDI CCs, the Articulation Slot Setup view
offers slightly different controls. This is an overview of the MIDI CC setup.
Articulation Slot Setup View (MIDI CC)
(1) Key/MIDI CC selector: The eight Articulation Slots can be selected either by Key (MIDI note)
or by MIDI CC events. Click the respective text label to change this setting for the entire In-
strument. The active option is highlighted.
(2) Articulation Slot Macros: Click the three dots to open the macro menu. Depending on wheth-
er Key or MIDI CC is selected, you'll have access to different convenience features (e.g. assign-
ing ascending key switches to the Articulation Slots automatically).
(3) Edit Button: Click this button to show/hide the full Articulation Slot Setup view.

With Edit inactive, you have limited access to the Articulation Slots, while still being able to
move the Performance Controls with the mouse.
With Edit activated, you get full access to Key/MIDI CC assignments and a visual representa-
tion of selectable Articulations.
(4) Articulation List: This list holds eight Articulation Slots. Each Slot represents a Key/MIDI CC
value, the assigned Articulation, as well as a volume control per Articulation. Key/MIDI CC is
set globally for all Articulation Slots in an Instrument.
(5) MIDI CC Assignment selector: Click and drag up/down to set the MIDI CC number.
(6) MIDI Learn button: This offers an alternative to manually setting the MIDI CC number. Click
this button, then move a knob, fader or button on your MIDI keyboard to send a MIDI Control
message and to complete the assignment.
(7) Controller Range selectors: Multiple Articulations can be assigned to the same MIDI CC. The
selection is then dependent on the MIDI CC value your controller sends.
► Click and drag the value in the left field to set the lowest CC value (0-127) which will
select this Articulation.
► Click and drag the right hand field to set the highest CC value (0-127) which will select
this Articulation.
(8) Clear Slot button: Click this button to remove the Articulation assignment from the selected
slot. The samples of unassigned Articulations are automatically purged from RAM. The Key/
MIDI CC setup is preserved when clicking the Clear Slot button.
(9) Articulation Cell: Each of these cells represent an Articulation. Click any of them to assign
that Articulation to the selected Articulation slot.

Editing Articulations Manually

Red: Sustain
Green: Staccato
Blue: Expression
Purple: Effects
tions.
4.2 Editing Articulations Manually

There are different ways for you to re-assign different Articulations to pre-defined Articulation
Slots.
Directly in the Performance View

This is the fastest option if you want to assign a different Articulation to the currently selected
Articulation Slot. It also allows you to stay in the distraction-free performance view.
2. While in the performance view, click the leftmost Articulation Indicator in the bottom left
corner. The Sustain All Articulation is selected.
Selecting Articulation Slot 1
3. Click the Articulation name. A list of available Articulations will open.

Selecting an Articulation from the drop-down list
4. Select the Crescendo Articulation by clicking in the list.

→ The Articulation is assigned to C-1.
In the Articulation Slots List

Using the ARTICULATION SLOTS list gives you an overview of all Articulation assignments
while still letting you access the Performance controls with the mouse.

3. Select the first Articulation Slot by clicking on it in that list.

4. Click on Sustain All, the default assignment in the first Articulation Slot. A list of availa-
ble Articulations will open.
5. Select Sforzando Fast by clicking in the list.
→ The Sforzando Fast Articulation is assigned to the first slot.
In the Articulation Slot Setup View

The full Articulation Slot Setup view allows you to switch between MIDI Key and MIDI CC as-
signment for the entire KONTAKT instrument. Depending on this selection, you can freely con-
figure advanced parameters.
2. While in the default performance view, click on Articulation in the bottom left corner. The
ARTICULATION SLOTS list will open.
3. In that list, click the Edit button. The Articulation Slot Setup view will open, covering the
Performance Controls.

4. Here, click the Swell Fast tile to select the respective Articulation.
→ The Swell Fast Articulation is now assigned.

Red: Sustain
Green: Staccato
Blue: Expression
Purple: Effects
tions.
4.2.1 Removing Specific Articulation Assignments

To clear single Articulation assignments, use the ARTICULATION SLOTS list.

3. In the list, click on the Articulation name. A list of available Articulations will open.
4. Select None, the last entry in that list.
→ The assignment is removed.
4.2.2 Removing all Articulations

To clear all Articulation assignments, use the Articulation Macro.

3. In the top right corner of this list, click the three vertical dots. A list of available macros
will open.
Opening the Articulation Macro list
4. Click on Empty all slots.

→ All assignments are deleted.

4.2.3 Assigning Key Switches to Articulations

Within a KONTAKT Instrument, you can assign either Key switches (MIDI key) or MIDI CCs
(buttons) to select an Articulation. You cannot mix Key and MIDI CC assignments within one
Instrument. This is how you assign a Key switch.
3. Click the Edit button in the top right corner of this list. This will open the Articulation Slot
Setup view.
4. Make sure Key is selected.

Key Switches Selected
5. Select the first Articulation slot by clicking in the left hand list.
6. Select the Sforzando Slow Articulation by clicking the corresponding cell in the Articula-
tion Slot Setup view.
7. Underneath the Articulations, click on the field labeled Key and drag up/down to set the
MIDI Key to G-1.
Setting the MIDI Key
→ The Articulation is now assigned to G-1 on your MIDI keyboard and can be selected by
pressing that key.
Assigning the Key via MIDI Learning

As an alternative to setting the MIDI Key by clicking and dragging the value in the Key field,
you can MIDI-learn the MIDI key.
1. Click the MIDI connector button.
Activating MIDI Learn
2. Press the A-1 key on your MIDI keyboard.

→ The selected Articulation is now assigned to A-1 on your MIDI keyboard and can be
switched on by pressing that key.

Red: Sustain
Green: Staccato
Blue: Expression
Purple: Effects
tions.
4.2.4 Assigning Velocity Ranges to Key Switches

By default, key switch assignments are not sensitive to velocity. You can play the MIDI note on
your keyboard softly or with force, as both will activate the same assigned Articulation.
If you need to switch between different Articulations with just one MIDI key, setting up velocity
ranges allows you to do just that.
Setting Up the First Articulation


Setup view.
6. Select the Sustain All Articulation by clicking the corresponding cell in the Articulation
Slot Setup view.
MIDI key to C-1.

→ Set the Velocity Range values to 0 in the left field and 90 in the right hand field.
Setting Up the Second Articulation

1. Select the second Articulation slot by clicking in the left hand ARTICULATION SLOTS
list.
2. Select the Swell Fast Articulation by clicking the corresponding cell in the Articulation
Slot Setup view.
MIDI key to C-1.
4. Likewise, set the Velocity Range values to 90 in the left field and 127 in the right hand
field.
→ You have now configured the C-1 key on your keyboard to switch to the Sustain All Artic-
ulation when pressed lightly and to the Swell Fast Articulation when pressed with more
force.
4.2.5 Assigning MIDI CCs to Articulations

Within a KONTAKT Instrument, you can assign either Key Switches (MIDI key) or MIDI CCs
(MIDI button) to select an Articulation. You cannot mix Key and MIDI CC assignments within
one Instrument.
Switching by MIDI CC is different from using Key, because here, you have to set up value rang-
es, whereas setting up velocity ranges for key is optional. The reason is that each instance of a
WOODWIND SOLO Instrument will only receive one MIDI CC number. So switching Articula-
tions requires you to set up value ranges.

Setup view.
4. Make sure MIDI CC is selected.
MIDI CC Selected
5. Right next to the MIDI CC switch, click on the field and drag up/down to set the MIDI CC
to 16. By default, the available value range of 0-127 is evenly distributed across the eight
Articulation slots. Unless your specific setup requires you to change it, it is recommended
you keep this default.

Setting MIDI CC Number
7. Select the Staccato Articulation by clicking the corresponding cell in the Articulation Slot
Setup view on the right.
→ The selected Articulation is now assigned to CC 16 on your MIDI controller.
Assigning MIDI CC via MIDI Learning

As an alternative to setting the MIDI CC by clicking and dragging the value in the MIDI CC
field, you can MIDI-learn it.
1. Click the MIDI Learn button next to the MIDI CC label.
Clicking the MIDI Learn Button
2. Press a button assigned to MIDI CC 16 on your MIDI controller.

→ The selected Articulation is now assigned to CC 16 on your MIDI controller.
By default, the Articulation in the first Articulation slot can be switched on by sending a CC
value between 0 and 15 from your host software or a MIDI controller.
4.2.6 Configuring a Native Instruments Controller to Send MIDI CC

If you own any Native Instruments hardware controller, please use Controller Editor to configure
the buttons/pads on your controller to send appropriate MIDI CC values as described in the
Controller Editor Manual.

Loading an Instrument and Setting it to Receive MIDI CC

Setup view.
MIDI CC Selected
The Articulation Slots are set up to switch when MIDI CC values are received.

Configuring a Native Instruments Controller to Send MIDI CC Values

In order to select either of the first two Articulation Slots, the controller has to send values
within the value ranges assigned to the Articulation Slots. Slot 1 is assigned values from 0 to
16, Slot 2 is assigned values from 17 to 31.
Please set up the following values in Controller Editor:
Hardware Button 1 Hardware Button 2

Type Control Change Control Change
Channel 11 11
Number 16 16
Mode Trigger Trigger
Value 10 26
Action On Down Down
1
Channel 1 is the default for the first Instrument you load in KONTAKT. If you intend to open
multiple Instruments within one KONTAKT instance, set the channel which WOODWIND SOLO
is receiving MIDI events from.
Selecting MIDI Channel
4.2.7 Sending MIDI CC from Your Host Software
Every modern music production software allows you to automate not just track volume
and panorama, but also the full spectrum of MIDI messages and plug-in automation pa-
rameters. For a more detailed description, please refer to your host's documentation.

Whether you draw MIDI CC automation or record MIDI CC events from a hardware MIDI con-
troller, in order to switch Articulations by MIDI CC, you need to set up WOODWIND SOLO to
receive MIDI CC messages:
Loading an Instrument and Setting it to Receive MIDI CC

Setup view.

Using Macros for Automatic Assignments (Key Switches)
MIDI CC Selected
Switching Articulations by MIDI CC from Your Host

In order to switch between the first two Articulation slots, write value automation for MIDI CC
in your host for a track sending MIDI data to WOODWIND SOLO.
Slot 1 is assigned values from 0 to 16, Slot 2 is assigned values from 17 to 31.
For better visibility of Articulation switches in your host, write discrete MIDI CC values
(e.g. 10 for Slot 1, 26 for Slot 2) instead of continuous curves.
4.3 Using Macros for Automatic Assignments (Key Switches)

Due to its flexibility, it can take a lot of repetitive steps to set up a basic starting point for your
custom configuration. This is why WOODWIND SOLO features macro scripts which help you
with certain tasks.
Depending on whether you assign Key or MIDI CC, there are different macros available.
4.3.1 Empty all Slots

If the configuration you're about to set up is just too different from the default setup after load-
ing an Instrument, use Empty all slots to start with a clean slate.

3. Click the Edit button.

5. In the top right corner of the ARTICULATION SLOTS list, click the three vertical dots. A
list of available macros will open.


4.3.2 Reset All Start Conditions

If you need to return the Instrument to its default state:


6. Click on Reset all start conditions.

→ The Instrument's default state is loaded.
4.3.3 Set Ascending Keys from First Slot

By default, MIDI Key assignments start from C-1, ascending in semi tones. If, for example,
you'd like to move all assignments up an octave to start from C0 instead:

3. In this list, select the first Articulation slot by clicking on it.

4. Click the Edit button to open the Articulation Slot Setup view.
6. Set the Key to C0 by clicking in the field next to it and dragging the mouse up.

8. Click on Set ascending keys from first slot.

→ All slots are assigned the keys starting from C0.
4.3.4 Distribute Velocity Range Equally on Active Slots

Assigning up to eight Articulations to velocity ranges of one Key is especially useful if you write
automation in your host software and are running out of free Midi keys. This macro allows you
to automatically assign equal shares of the 0 - 127 value range.


4. Click the Edit button. The full Articulation Slot Setup view will open.
6. Set the Key to G-1 by clicking in the field next to it and dragging the mouse up.

Using Macros for Automatic Assignments (MIDI CCs)
8. Click on Distribute velocity range equally on active slots.

→ All active slots (slots with Articulation assignments) are assigned the same G-1 key
switch. Each slot is assigned an equal fraction of the velocity range between 0 and 127.
4.4 Using Macros for Automatic Assignments (MIDI CCs)

Due to its flexibility, it can take a lot of repetitive steps to set up a basic starting point for your
custom configuration. This is why WOODWIND SOLO features macro scripts which help you
with certain tasks.
Depending on whether you assign Key or MIDI CC, there are different macros available.
4.4.1 Empty All Slots

If the configuration you're about to set up is just too different from the default setup after load-
ing an Instrument, use Empty all slots to start with a clean slate.


MIDI CC Selected
Opening the Articulation Macro List (MIDI CC)


4.4.2 Reset All Start Conditions

If you need to return the Instrument to its default state:


MIDI CC Selected
6. Click on Reset all start conditions.

→ The Instrument's default state is loaded.
4.4.3 Distribute Controller Equally on Active Slots

Assigning MIDI CCs to buttons or pads is a good way of avoiding conflicts in more complex
MIDI controller setups.


4. Click the Edit button. The full Articulation Slot Setup view will open.
MIDI CC Selected

Ensemble View
7. Click on Distribute controller equally on active slots.

→ The MIDI CC value range from 0-127 is divided by the number of active slots and distrib-
uted evenly.
If you load any of the KONTAKT Instruments included in WOODWIND SOLO and set it
to receive MIDI CC, you'll find that the controller values are already assigned this way.
This macro helps you quickly set up a new configuration if you assign less than the full
eight Articulation Slots or after you cleared all assignments to start from scratch.
4.5 Ensemble View

SOLO WOODWIND includes one KONTAKT Instrument which allows you to play all woodwind
sections at once, although with a limited choice of Articulations.
When loading Woodwind Quintet.nki, the tonal range of the keyboard is split into zones, or key
ranges. In order to make all woodwind sections playable at once, each is limited to the tonal
range which they are most often used for in composition.
4.5.1 Overview of the Ensemble View
The Ensemble view allows you to configure different aspects of the Woodwind Quin-
tet.nki. It is only available in this single KONTAKT Instrument.

Ensemble View
Ensemble view
(1) Soloist on/off switch: Click the indicator to activate or deactivate a soloist. A thin ring shows
it's inactive, a solid dot means it's active.
(2) Soloist Panorama Slider: Click and drag this slider to the left or right to set the respective
soloist's balance in the stereo panorama.
(3) Soloist Volume Fader: Click and drag the fader to set the respective soloist's level.
(4) Soloist Key Range: A readout of the tonal range of the respective soloist.

Ensemble View
(5) Key Range Display: Each woodwind section's tonal range is visualized by a horizontal bar
across the keyboard display.
4.5.2 Activating/Deactivating Sections

In some of your work, you might not need all instruments in the Quintet instrument. It is rec-
ommended you deactivate these instruments, because whenever you unload an instrument, the
assigned samples are automatically purged from RAM.
2. While in the default performance view, click on Ensemble at the bottom of the screen.
The Section Setup view will open.
Opening the Section Setup View
3. To deactivate the CLARINET, click the dot to the left of the CLARINET label. A thin ring
De-activating the Clarinet
→ The CLARINET is deactivated and the samples are unloaded from RAM.

KONTAKT Snapshots
Saving a User Snapshot
5 KONTAKT Snapshots
Snapshots, introduced as part of the KONTAKT 5.4.1 update, offer a way of saving variations of
any KONTAKT Instrument for easy recall.
WOODWIND SOLO, for example, allows you to create your own mix from CLOSE, MID and FAR
microphone positions and apply effects like EQ, REVERB, COMP and FILTER.
With KONTAKT Snapshots, you can create any number of different mixes for the same Instru-
ment, save them in the new .nksn file format and re-use them in your next project or share
these Snapshots across your computers. You can even share them with other users who own
the same KONTAKT Library.
WOODWIND SOLO doesn’t come with Snapshots, so in order to demonstrate the full
feature set, we’ll save a Snapshot first.
► Access the Snapshot View by clicking the camera icon in the Instrument Header
► Switch back to the familiar Info View with its Input / Output configuration options by
clicking the i icon.
Accessing the Snapshot View
5.1 Saving a User Snapshot

Let's start exploring Snapshots with saving your own. By loading one of the supplied Instru-
ments and adjusting some of its parameters, you will end up with a sound which is distinct
enough for you to want to keep it.

KONTAKT Snapshots
Setting Up a Unique Mix

1. In the Libraries Tab, load the Woodwind Quintet.nki Instrument. Play a few notes on your
MIDI keyboard to get familiar with the ensemble's sound.
2. In the Mixer Tab, activate the CLOSE, MID and FAR microphone positions by clicking the
respective labels. De-activate the STEREO mix afterwards.
De-activating the STEREO mix
3. Click and drag the CLOSE and MID volume faders up and the FAR volume fader down to
set up a mix with little of the recorded ambience.
4. Activate the reverb by clicking the small dot to the left of the REVERB label.
Activating the REVERB effect
Saving the Mix

Now let’s save this new sound as a Snapshot for convenience.
1. Click the camera icon in the Instrument Header. This will switch the Header to the Snap-
shot View.

KONTAKT Snapshots
2. Here, click the floppy disk icon to open the Snapshot Saving dialog.
Saving a Snapshot
3. Enter a Snapshot name (e.g. Blends well with synths) and click Save.
Snapshot Saving Dialog
→ The Snapshot is saved and added to the Snapshot Menu.

All User Snapshots are automatically stored in the default User Content folder. This is where
the SYMPHONY SERIES WOODWIND SOLO Snapshot you just created will be stored:
▪ On Mac OS X: Macintosh HD/Users/<Your Name>/Documents/Native Instruments/User Con-
tent/Symphony Series Woodwind Solo/Woodwind Quintet/Blends well with synths.nksn
▪ On Windows:C:\Users\<Your Name>\My Documents\Native Instruments\User Content\Sym-
phony Series Woodwind Solo\Woodwind Quintet\Blends well with synths.nksn
You can transfer any of your Snapshots to another computer by copying the respective
Snapshot files.
Please make sure you include your Documents / My Documents folder in your regular
data backups.

KONTAKT Snapshots
Loading a Snapshot from the Snapshot Menu
5.2 Loading a Snapshot from the Snapshot Menu

If you need to recall a specific sound for recurring use in the studio or for live playing, Snap-
shots give you an easy way of doing just that.
Let's get to know this feature by loading a Snapshot from the Instrument Header's Snapshot
Menu. We assume here that you saved the Blends well with synths Snapshot as described in
the ↑5.1, Saving a User Snapshot section.
Load a User Snapshot

1. In the Libraries Tab, load the Woodwind Quintet.nki Instrument. Play a few notes on your
MIDI keyboard to get familiar with the ensemble's sound.
2. Click the camera icon in the Instrument Header to switch the Header to the Snapshot
View. By default no Snapshot is loaded.
3. Open the drop-down menu and select the Blends well with synths Snapshot.
Loading a Snapshot
→ The Blends well with synths Snapshot is loaded.
Alternatively, when no Snapshot is loaded, click the Next Button after loading the Wood-
wind Quintet Instrument to achieve the same result.

KONTAKT Snapshots
Loading Snapshots from the File System
5.3 Loading Snapshots from the File System

KONTAKT supports two ways of loading Snapshot files (.nksn):
▪ Dragging and dropping a Snapshot file from the Finder / Explorer onto the Rack
▪ Loading via double-click in Finder (Mac OS X) or Explorer (Windows)
This allows you to take your favorite Snapshots to the studio on a flash drive or send them at-
tached to an e-mail and load them from your Desktop without altering the installation on the
studio computer.
Drag and Drop

In order to load a Snapshot from any disk, use Filer / Explorer to drag an .nksn file from its
current location onto an empty area of the Rack. KONTAKT will load a new instance of the cor-
responding Instrument with that Snapshot.
If you drag a Snapshot onto an active Instrument in the Rack instead, that Instrument will be
replaced by the Instrument loaded from the Snapshot.
Snapshots you open are not automatically saved to the default location.
Please note, the Next/Previous buttons can only skip through Snapshots located in the
Factory Snapshots and the User Content folder
Double-click
Double-clicking a Snapshot file in Finder (Mac OS X) or Windows Explorer inserts a new Instru-
ment instance in KONTAKT.
5.4 Deleting a User Snapshot

In order to keep things tidy in the Snapshot Menu, you can delete any Snapshots you saved
when you feel you don't need them anymore. Keep in mind that Snapshots are saved on a per-
Instrument basis. So in order to delete a Snapshot in KONTAKT, you have to load it first.

KONTAKT Snapshots
Deleting a User Snapshot
Please note, you can only delete User Snapshots. All KOMPLETE Factory Snapshots are
read-only. In order to follow the steps described here, you have to have saved a Snap-
shot first as detailed in the ↑5.1, Saving a User Snapshot section
To demonstrate how deletion of Snapshots works, we’ll delete the Blends well with synths
Snapshot saved in that section.
1. In the Libraries Tab, load the Woodwind Quintet.nki Instrument.
2. Click the camera icon to access the Snapshot View.
3. Open the Blends well with synths Snapshot.

4. Click the trash bin icon in the Instrument Header.
Deleting a Snapshot
5. Confirm deletion of the Snapshot in the dialog which pops up.

→ The Snapshot file is now erased from the folder on your hard disk as well as removed
from the Snapshot Menu.

Audio Mix-down
The Microphone Mixer View
6 Audio Mix-down
6.1 The Microphone Mixer View

In addition to a full production-ready STEREO mix of all microphones used in the recording of
the woodwind soloists, WOODWIND SOLO offers CLOSE, MID and FAR microphone recordings.
These are phase-aligned so mixing any combination of microphone positions will be free from
phase cancellation issues.
Impulse responses capturing the ambience of the original recording are included in the RE-
VERB panel in the Cathedral category.
The STEREO mix-down is a mixture of signals from all individual microphone positions. If
you're going to activate any of the CLOSE, MID and FAR positions, it is recommended you
deactivate the STEREO track.
Deactivating unnecessary microphone positions saves processing power and lowers the
RAM consumption.

Audio Mix-down
The Microphone Mixer View
The Microphone Mixer
(1) Microphone Position On/Off switch: Click the indicator to activate either (combinations of)
distinct microphone positions or the STEREO mix. A thin ring shows it's inactive, a solid dot
means it's active. Either one microphone position or the STEREO mix has to be active at any
time.
(2) Microphone Position Panorama: Click the slider and drag it to the left or right to set the re-
spective microphone position's balance in the stereo panorama.
(3) Microphone Position Volume fader: Click and drag the fader to set the respective microphone
position's level.

Audio Mix-down
Refining the Master Mix
(4) Microphone Position Output selector: Click to select an individual output routing per micro-
phone position. This is only available if KONTAKT is set up as a multi-out instrument or multi-
out plug-in.
(5) Effects On/Off: Click any of these indicators to activate or deactivate the corresponding ef-
fect. A thin ring shows it's inactive, a solid dot means it's active.
(6) Effects Selectors: Click any of these labels to select the respective effect and show its ef-
fects parameters in a dedicated panel.
(7) Effects Controls: adjust the selected effect's parameters here.
(8) Transfer Settings drop-down: Click to save the current Mixer configuration. Then go to anoth-
er WOODWIND SOLO Instrument and there, click the Transfer Settings drop-down to load the
configuration.
6.2 Refining the Master Mix

The mix of the selected microphone positions can be processed with a number of integrated
effects to help it blend better with the other instruments in your virtual orchestra.
Since the recordings have a very refined and production-ready sound, these effects aren't in-
tended as corrective tools, but rather meant to put the finishing touches on an otherwise great
mix.
The default STEREO mix is recommended for most situations, because it is the most re-
source-efficient option. It is a mix-down of the CLOSE, MID and FAR microphone posi-
tions.
6.2.1 Applying EQ
In a busy composition, instruments from different groups often overlap, resulting in a muddy,
crowded mix lacking definition and transparency. Attenuating the non-essential frequencies
and boosting the characteristic frequencies per instrument section helps clean up the mix.
2. Click the Mixer label to open the Microphone Mixer view.

Audio Mix-down
Opening the Microphone Mixer
3. Click the EQ label to select the Equalizer panel.

4. Click the small indicator dot next to the label to activate / bypass the Equalizer. A thin
ring shows it's inactive, a solid dot means it's active.
Activating the EQ
5. Adjust the Low, Mid and High controls as needed.
The EQ Controls
The EQ offers an identical parametric Low and High bands with Gain and Freq controls. The
Mid band is fully parametric with Gain and Freq controls plus adjustable bandwidth (BW).
Gain: Boost or attenuate the Low EQ band. The EQ is a bell curve type with 18 dB of boost or
cut.
Freq: Set the center frequency of the Low EQ band anywhere between 20 Hz and 20 kHz.
BW: Set the Mid band's bandwidth between 1/3 octave and 3 octaves.
These controls affect the frequency balance of your KONTAKT Instrument's Master Mix.
If you need to adjust EQ per soloist, load the Individual Instruments instead of the Quin-
tet Instrument.

Audio Mix-down
6.2.2 Applying Reverb

WOODWIND SOLO includes 100 Impulse Responses in 10 categories. Impulse responses in
the REVERB are actual audio recordings that capture the way sounds naturally reflect and de-
cay in different environments.
Most of these Impulse Responses were recorded by Soundiron in a variety of unique real-world
locations, such as cathedrals, churches, classrooms, halls, garages, military bunkers, tunnels,
studios and more. However, some Impulses are custom sound-designed sound effects used
purely for creating unique special effects.
Use caution when using these Effects Impulses, as they can create strong resonant ef-
fects and feedback when mixed at high volumes in some cases.
Activating the Reverb

3. Click the REVERB label to select the REVERB panel.

4. Click the small dot next to the label to activate / bypass the REVERB.
Activating the Reverb

Audio Mix-down
→ The REVERB is activated. A thin ring shows its inactive state, a solid dot means it's ac-
tive.
Selecting an Impulse Response

1. Click the right arrow next to the category name above the preview image to cycle through
the available categories.
Selecting a Reverb Category
2. Select Room Large.

3. Click the right arrow next to the Impulse Response name below the preview image to select
the actual Impulse Response.
Selecting an Impulse Response
4. Select Classroom.
→ The Classroom Impulse Response is applied to the Master Mix in Woodwind Quintet.nki,
affecting all woodwind instruments equally.
The REVERB Controls

Reverb parameters should not be automated. Otherwise, audio drop-outs may occur.
Size: Stretches or compresses the impulse response audio file. This creates the illusion of the
room size changing.

Audio Mix-down
Delay: Introduces a pre-delay before the reverberation.
► Decrease the pre-delay to embed instruments in the reverb, creating a distant, 'roomy'
sound.
► Increase the pre-delay to separate instruments from reverb, creating a close, 'direct'
sound.
Filter HiPass: Removes low frequencies from the reverb signal to avoid boominess.
► Click and drag up to raise the frequency below which signal is attenuated.
Filter LoPass: Removes high frequencies from the reverb signal to avoid excessive brightness
and to help it blend in naturally.
► Click and drag down to lower the frequency above which signal is attenuated.
Mix Amount: Blends anywhere between no reverb at all and just the reverb.
► Click and drag down to mix in less reverb, drag up to add more reverb.
6.2.3 Applying Comp & Filter

The Compressor is helpful to reduce the dynamic range of an Instrument in case the loudest
passages mask other instruments in your arrangement. The Filter can add resonance which
makes the sound more aggressive and cut through the mix better, or it can reduce the bright-
ness of an Instrument for special effect.
Activating the COMP and FILTER


Audio Mix-down
3. Click the COMP & FILTER label to select the combined Compressor and Filter panel.
Opening the COMP & FILTER panel
4. Click the small dot next to the COMP label to activate the Compressor.
5. Click the small dot next to the FILTER label to activate the Filter.
Activating the Compressor
→ The Compressor and Filter are activated. A thin ring to the left of each label shows their
inactive state, a solid dot means they are active
The COMP Controls

Threshold: Sets the level above which compression occurs.
Ratio: Determines how strong the compression is. At a Ratio of 2:1, a signal which exceeds the
Threshold by 6dB is reduced to 3dB above the Threshold.
Attack: Determines how quickly the compressor starts reducing the signal after the level ex-
ceeds the Threshold.
Release: Determines how quickly the compressor stops reducing the signal after the level falls
below the Threshold.
The FILTER Controls

Cutoff: Sets the frequency above which signals are gradually attenuated.

Audio Mix-down
Close, Mid and Far Microphone Positions
Resonance: Determines the intensity of the resonance peak at the Cutoff frequency. High val-
ues cause aggressive, piercing sounds, whereas at low values, the Filter only reduces high fre-
quency signals.
6.3 Close, Mid and Far Microphone Positions

For each woodwind instrument, a CLOSE, MID and FAR position were recorded. Each of these
represents a mix-down of an array of microphones to achieve a spacious, natural sound. For
convenience, an additional STEREO mix-down is provided.
When using WOODWIND SOLO with products outside the SYMPHONY SERIES, mixing the
three available microphone positions will give you greater flexibility in creating a sound which
will blend well with the other products.
Every activated microphone position requires additional RAM and processing power. De-
activate all positions you don't use.
About Microphone Positions

Microphone Position Recording Distance Stereo Width Stereo Panning
CLOSE 5 ft. / 1.5 m Medium Center
MID 25 ft. / 8 m Wide Center
FAR 75 ft. / 23 m Very Wide Center
6.4 Balancing Section Volumes

The Woodwind Quintet.nki is a combination of all soloists from the Individual Instruments.
When working with the Individual Instruments, you can adjust their relative volume and panor-
ama position by adjusting the controls in the Individual Instruments.
Since this wouldn't otherwise be possible with the Quintet Instrument, it offers an additional
mixer in the Section Setup with per-section volume and panorama.

Audio Mix-down
Balancing Section Volumes
2. While in the default performance view, click on Ensemble at the bottom of the screen.
The Section Setup view will open.
Opening the Section Setup View
3. To adjust the BASSOON soloist's volume, click and drag the volume fader underneath the
corresponding label.
The Section Volume Fader
4. To adjust the BASSOON soloist's stereo position, click and drag the panorama slider
above the volume fader.
If you create your own mix of CLOSE, MID and FAR microphone positions in the Mixer
view, the Section Volume Fader settings will be applied to your mix of the microphone
positions.

Audio Mix-down
Balancing Articulation Volumes
6.5 Balancing Articulation Volumes

Although great care has gone into balancing the perceived loudness of a soloist's Articulations,
in context of other instrumentation and the actual composition, you may find an Articulation
sounding too loud or too quiet.
Instead of having to automate the volume around this note, WOODWIND SOLO allows you to
adjust the volume of each Articulation Slot individually. That way, you could even assign the
same Articulation to multiple Slots with different volume settings.
2. While in the default performance view, click on Articulation in the bottom left corner. The
ARTICULATION SLOTS list will open.
3. In this list, click the Edit button. A volume knob is shown for the selected Articulation.
4. To adjust an Articulation's volume, click it once to select and then click and drag the level
knob.

Audio Mix-down
Transferring Mixer Settings Between Different Instruments
Adjusting a specific Articulation's Volume
→ Only the specific Articulation's volume is adjusted.
6.6 Transferring Mixer Settings Between Different Instruments

When you set up your own mix of microphone positions in one woodwind soloist, you'll want to
apply the same mix to all other soloists for a consistent ensemble sound. WOODWIND SOLO
offers an easy way of transferring these settings to the other soloists.
Saving Mixer Settings

1. Load Flute Legato.nki.
3. Adjust parameters in this view to create your custom mix.

4. In the top right corner, click Transfer Settings. A drop-down menu will open.

Audio Mix-down
Transferring Mixer Settings Between Different Instruments
Opening the Transfer Settings drop-down
5. Select Save current mixer setting.
Recalling Mixer Settings

1. Load Clarinet Legato.nki.
3. In the top right corner, click Transfer Settings. A drop-down menu will open.
Opening the Transfer Settings drop-down
4. Select Load mixer setting.

→ The mixer settings from the Flute soloist are applied to the Clarinet soloist.

Performance Optimization
General Advice
7 Performance Optimization
Highly realistic, sampled Instruments like WOODWIND SOLO are demanding in terms of both
RAM and processing power. Even if you own a high end computer, please read the following
tips carefully to get the most out of your system.
7.1 General Advice

▪ Use the Soloist Master Instruments (e.g. Flute.nki, Bassoon.nki) as often as possible in-
stead of the Individual Articulation Instruments.
Loading the Soloist Master
▪ Only use Individual Articulation Instruments (e.g. Flute Legato.nki, Bassoon Expres-
sions.nki) if you need any of these specific features:
◦ Time stretching
◦ True legato
◦ Effect articulations

Project Economy
7.2 Project Economy

▪ Only load Articulations which are actually used in the musical piece.
Deactivating unused Articulations
▪ Try to avoid the activation of the REVERB in multiple Instruments. If possible, use your
host software's Send Busses (AUX Sends, FX Sends) to share reverb between different in-
stances of KONTAKT.
Deactivating the REVERB
7.3 Instrument Economy

▪ Only activate the microphone positions you actually need. STEREO will always be less de-
manding than mixing the CLOSE, MID and FAR positions.

Instrument Economy
Deactivating all microphone positions except for STEREO
▪ Disable instrument sections of the Woodwind Quintet.nki Instrument if you don't need
them.
Deactivating unused soloists
▪ In Individual Instruments, only activate time stretching (Sync / Varispeed settings) for the
Articulation Slots you need control over playback speed for.
Deactivating time stretching

Technical Specs
Recorded Tonal Range
8 Technical Specs
8.1 Recorded Tonal Range
Contrabas- Tenor Saxo- Bassoon Clarinet Oboe Flute

soon phone
Recorded Bb-1 - Bb-2 Ab2 - D5 Bb0 - Bb3 D2 - D5 C3 - D5 C3 - C6
Tonal
Range
8.2 Microphone Positions
Microphone Position Recording Distance Stereo Width Stereo Panning

CLOSE 5 ft. / 1.5 m Medium Center
MID 25 ft. / 8 m Wide Center
FAR 75 ft. / 23 m Very Wide Center

Credits
9 Credits
Soundiron
Produced, Directed and Recorded By: Mike Peaslee, Gregg Stephens and Chris Marshall
Scripting, UI and Systems Design: Chris Marshall
Editing, Mixing, Mastering: Gregg Stephens and Mike Peaslee
Mapping and Programming: Chris Marshall, Gregg Stephens, Mike Peaslee, and Spencer Nuna-
maker
Beta Team and Video Production Management: Jan Hoeglund
QA Team: Gregg Stephens, Mike Peaslee, and Spencer
Session Coordinator: Alan Kleinschmidt
Session Conductor: Doug Morton
Video Tutorials: Jan Hoeglund, Cory Pelizzari, Arkadiusz Reikowski, Brad Jerkins, Chris Cutting,
Dirk Ehlert, Jeremiah Pena, Johnny Knittle, Marie-Anne Fischer, Paul Amos, and Tino Daniel-
zik
Beta Composers: Anne van Duyvenvoorde, Arkadiusz Reikowski, Blake Ewing, Brad Halverson,
Brad Jerkins, Chris Cutting, Cory Pelizzari, Dirk Ehlert, Dylan Jones, Gareth Cocker, Ian
Dorsch, James Everingham, Jason Graves, Jeremiah Pena, Johnny Knittle, Kyle Robertson,
Marie-Anne ischer, Misha Mansoor, Paul Amos, Simon Russell, Spencer Nunamaker, Tino Dan-
ielzik, Tomás Lobos Kunstmann, and Valentin Boomes, and Xiaotian Shi
Native Instruments
Concept and Design: Frank Elting
User Interface Design: Fabian Ruf, Julius Gehrig
Quality Assurance: Bymski
Documentation: Adam Hanley, Christoph Laue
Sound Design Consultant: Nikolas Jeroma

Credits
Marketing Management: Tom Evans

Artwork: Yvonne Hartmann
Copywriter: Frank Cifarelli
Technical Support and Encoding: Carlos Ruiz
Product Management: Christian Wachsmuth

Glossary
Sustains
10 Glossary
10.1 Sustains
Sustains are long, steady tones. They are typically used for underlying harmony and melody, to
create tension, or to create a still moment.
10.2 Legatos
Legatos form a Smooth, connected flow of notes. They are employed for the creation of melo-
dies and counter-melodies.
10.3 Staccatos
Staccatos are short, defined notes which can add rhythm, forward motion and definition to a
passage.
10.4 Expressions
Expressions can connect contrasting segments of a composition with each other by virtue of
their expressiveness and are great for introducing or concluding a musical idea. They can be
used for passages otherwise very difficult to sequence and for adding interest to a piece, giving
the listener a greater impression of a live performance.
Playing Expressions, avoid overlapping notes. If you encounter unwanted artefacts, try
adjusting the Release control.

Glossary
Effects
10.5 Effects
Effects cover the aspects which add realism without contributing to the arrangement of a com-
position. These are often atonal and aleatoric (random), giving a sense of foreboding, but can
be used for “stingers”, horror sound effects, chaos, etc.
10.6 Arpeggios
Arpeggios break up a chord into its individual notes, which are then played as a pattern. This
is why arpeggios are sometimes called “broken chords”. Fast arpeggios are sometimes used by
monophonic instruments (like solo woodwind) to give the impression of a chord.

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Disclaimer

Document authored by: Adam Hanley

NATIVE INSTRUMENTS GmbH

NATIVE INSTRUMENTS North America, Inc.

NATIVE INSTRUMENTS K.K.

NATIVE INSTRUMENTS UK Limited

© NATIVE INSTRUMENTS GmbH, 2016. All rights reserved.

SYMPHONY SERIES WOODWIND SOLO - Manual - 4

4 Configuring WOODWIND SOLO .................................................................................... 26

SYMPHONY SERIES WOODWIND SOLO - Manual - 5

5.2 Loading a Snapshot from the Snapshot Menu ............................................................................ 66

SYMPHONY SERIES WOODWIND SOLO - Manual - 6

10.5 Effects ........................................................................................................................................ 89

SYMPHONY SERIES WOODWIND SOLO - Manual - 7

1 Welcome to the SYMPHONY SERIES

1.1 Manual Conventions

Furthermore, the following formatting is used:

SYMPHONY SERIES WOODWIND SOLO - Manual - 8

► Single instructions are introduced by this play button type arrow.

→ Results of actions are introduced by this smaller arrow.

1.2 About this Document

1.3 About the SYMPHONY SERIES of Products

SYMPHONY SERIES WOODWIND SOLO - Manual - 9

2 Choosing the Right KONTAKT Instrument

Six Instrument Sections

Soloist folders in the Library Browser

SYMPHONY SERIES WOODWIND SOLO - Manual - 10

Six Instruments Per Section

Flute Articulations in the Flute Folder

The Quintet Instrument

SYMPHONY SERIES WOODWIND SOLO - Manual - 11

The Woodwind Quintet Instrument in the Browser

2.1 Soloist Master Instrument

SYMPHONY SERIES WOODWIND SOLO - Manual - 12

2.2 Individual Articulation Instrument

SYMPHONY SERIES WOODWIND SOLO - Manual - 13

2.3 Quintet Instrument

SYMPHONY SERIES WOODWIND SOLO - Manual - 14

3 Playing SYMPHONY SERIES Instruments

3.1 Selecting Articulations with Key Switches

If WOODWIND SOLO is configured to select Articulations by Key Switches, the corre-

SYMPHONY SERIES WOODWIND SOLO - Manual - 15

To select an Articulation by Key Switch:

KONTAKT's on-screen keyboard with Key Switches

3.2 Refining a Recording in Your Host Software

Switching Between Articulations

SYMPHONY SERIES WOODWIND SOLO - Manual - 16

Playing Like a Woodwind Player

Using the Performance Controls

3.3 About Using MIDI Controllers

SYMPHONY SERIES WOODWIND SOLO - Manual - 17

3.4 Performance Controls

The main Performance Controls

SYMPHONY SERIES WOODWIND SOLO - Manual - 18

SYMPHONY SERIES WOODWIND SOLO - Manual - 19