BST Manual

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  • M a n u a lV e r s i o n 1 . 0

    w w w . o r c h e s t r a l t o o l s . c o m

    The Berlin Woodwinds | Brass | Percussion | Strings | Various Series

  • About Berlin StringsWhen we first recorded at the Teldex Scoring Stage we had no idea of the impact this would have on the way we approach sampling - and on our product range. Berlin Strings not only raised the bar for woodwind sampling, but also made us fully realise the incredible room it was recorded in. A bunch of libraries and recordings later, the idea of The Berlin Series was born. A full orchestral library in unparalleled depth recorded at Teldex. We proudly present the next full volume in this series. Berlin Strings aims to be your go-to string library, bringing the sound of the Teldex Scoring stage to your string parts.

    The string section is unmatched in its expressiveness and versatility. To make intricate arrangements possible with all the sonic possibilities of the instruments, we went to great lengths to our knowledge unparalleled in orchestral sampling so far. BST sports a huge array of short articulations with sometimes more than 20 RRs, deep-sampled legato with an innovative script adjusting to your playing and of course a large complement of pre-recorded runs. All runs are compatible with BST, so you can play woodwind/string runs in perfect sync. We also again included Playable Runs patches which allow you to play custom runs.

    Soaring strings need a place to do their soaring. We are very happy to once again having had the chance to return to the Teldex stage in Berlin/ Germany. The large recording stage looks back on a long tradition of many well known and Grammy award winning recordings. Famous orchestras, like the Berlin Philharmonics and great film composers from the USA and Europe trust and love the wide and clear acoustics of this room. One of the best sounding scoring stages in Europe, this room together with a fantastic complement of legendary microphones makes Berlin Strings a realization of a long standing dream.

    A big thank you to all of our customers! Only the huge success of our product range through your loyalty make it possible to embark on creating The Berlin Series. Your continued support enables us to keep exploring our dreams of innovative sampled instruments! Stay tuned for new volumes of The Berlin Orchestra.

    All the best wishes!

    The whole OrchestralTools team


    Berlin Strings 1.0 - Manual 2

  • CreditsProduced by

    Schwarzer & Mantik GbR

    Created and Produced by

    Manfred Mantik, Hendrik Schwarzer

    Concept, Scripting and Mapping

    Hendrik Schwarzer

    Mixing / Mastering

    Manfred Mantik


    Manfred MantikJan Lepold

    Gernot LangePeter Ulrich

    Daniel WilhelmSebastian ZangarAlexander KetelDennis Schuster

    Quality Assurance

    Jan Lepold


    Fernando Aguila GarciaTobias Escher

    Manfred MantikGabriel Gudenus

    Lukas KnblWolfgang Liebig


    Tobias Escher


    Bernhard Fabuljan

    Recording Engineer

    Tom Rubueldt

    Recorded at Teldex Berlin

    Thanks to all our beta testers!


    Berlin Strings 1.0 - Manual 3

  • BST 101Instrumentation and Recording

    Berlin Strings contains all five orchestral string sections, which are divided into patches containing a single articulation. You will find all of these patches inside the Instruments folder. The library contains the following sections, as they appear in your instruments folder:

    01. Violins I02. Violins II03. Violas04. Violoncellos05. Basses

    All playable articulations are listed in the articulations chart, available in the Documentation folder.

    The Violins II section is played by different musicians on different instruments, and does not reuse any existing samples.

    You have free choice between four microphone positions, Close, Tree and Surround, as well as an A/B setup. All Violins I patches have a special Concertmaster position which you can dial in to your taste to add presence.These microphone positions are switchable in the GUI. Additionally, all core articulations have been recorded with multiple velocity layers for realistic dynamics.All samples have their natural panning.

    BST was recorded at the Teldex Scoring Stage Berlin/Germany with high-end Neumann microphones like the legendary M50 tube microphone.


    Berlin Strings 1.0 - Manual 4

  • Tempo-synchronisation and NIs Time Machine

    All pre-recorded runs and figures are synchronized to your host tempo. This marks the next step in flexibility in professional sampling. For Berlin Strings, we recorded all tempo-synced runs and figures at different tempos, with the script of the instrument deciding in realtime upon the sample to use. The chosen sample is then stretched to your host tempo by means of Time Machine 2 (Close and Room microphone positions) and Time Machine Pro (Mix).

    Note that when using extreme tempos not playable by real musicians, you will hear artifacts and the playback will not be clear. If you use the auto tempo mode in BST the script will default to half tempo. A 16th run at 200 bpm is not actually playable in reality - there is no recorded sample for this tempo range. The script would then stretch the fastest available sample too heavily, resulting in a bad sound. The auto tempo feature will play the run at half your hosts tempo and the result will sound much nicer. Be mindful of your tempo when writing with runs. Not every run is compatible with every tempo. If you use the patches in their natural tempo range, meaning: at a speed actually playable by real strings, you will get the best results.


    To make Berlin Strings seamlessly integrate with our own Orchestral String Runs and Berlin Strings, the complement of Scale Runs is identical to the complement present in OSR. This allows you to play runs from both libraries at the same time without timing issues or note collisions. You can easily double a string run with a flute section - all notes will sound perfectly together.


    Berlin Strings 1.0 - Manual 5

  • Blending With Other Libraries

    We have spent considerable energy on making Berlin Strings fit into your existing workflow and make it work together effortlessly with other libraries you are using.

    1. The right reverb

    You can control the amount of room information with the four adjustable microphone positions in Berlin Strings interface.More Room = more softness, wideness; More mid = more presence and character; more Close = more detail.Using the Close position solely allows you to shape the sound even further by using your own reverb - at the expense of loosing the natural sound of the Teldex stage.

    In general we suggest the use of an unobtrusive final reverb on top of the samples to blend everything nicely together in a coherent space and to allow for spatial positioning of instruments within the mix (or, in plain words: to move instruments further back or to the front in the mix).

    2. Volume Control via Kontakt

    We have chosen to not normalise the audio samples used in Berlin Strings. This means that all samples are at their natural volume, making some instrument ranges much quieter than you may find in other libraries. This is intentional to give you the full dynamic spectrum. If you want to raise the overall volume of BSTs patches, you can either raise the volume of individual patches or raise Kontakts master volume slider:


    Berlin Strings 1.0 - Manual 6

  • 3. Volume Range Dial

    Dynamics is what makes an orchestra sound good. And incidentally, it is also what makes many mockups sound bad. A piano can be really quiet and a forte can be really loud, not something in-between. Because there is a fixed amount of velocity layers in any sample library, it can happen that a real musician could play that piano part much quieter than your samples do. On the other hand, having the quietest samples at too low a volume can make a library hard to use. We thought about this and have a solution: The volume range dial allows you to set the overall volume range of your instruments between the lowest and the highest velocity.

    Move the dial all to the left and you will have the original dynamics as recorded. Move it to the far right and the lowest velocities will be very quiet while the highest velocities will be pretty loud, giving your the full possible dynamic range. By default, this dial is set to give you some nice dynamic range compared the raw samples while at the same time not leaving you with almost inaudible low velocities. Experiment with this setting and use it in your templates to bring out the full dynamic range of your orchestrations! The volume range feature allows you to blend BST with your other string libraries with ease.


    Berlin Strings 1.0 - Manual 7

  • MIDI CCs used by Berlin Strings

    We have taken great care to not clash with your existing MIDI CC allocations for Berlin Strings. Most CCs used by the library are standard and should work well with your current setup. Nevertheless, BSTs scripts internally use a number of additional CCs, which are also available to you as a user in case you want to adjust settings. Most C