CAPSULE User Guide - Orchestral · PDF file11 Electric Guitar and Bass ... Welcome to the Orchestral Tools CAPSULE User Guide! ... famous orchestras in the world and conceived a whole

1

Rev. 2 015 -12 -3 0 - CAPSULE 2 .2

1

CAPSULE User Guide

© 2015 OrchestralTools GmbH

CONTENT

I About this User Guide 4

II Introduction 5

III Recording and Concept 7

IV Instrument Collections 8

1 Berlin Series ................................................................................................................... 9

Berlin Woodwinds ................................................................................................ 10

Berlin Woodwinds - Additional Instruments .......................................................... 11

Berlin Woodwinds - Soloists I ................................................................................ 12

Berlin Woodwinds - Soloists II ............................................................................... 13

Berlin Woodwinds - SFX ....................................................................................... 14

Berlin Brass - Horn SFX ......................................................................................... 15

Berlin Percussion ................................................................................................... 16

Berlin Percussion - The Timpani ............................................................................ 18

Berlin Strings ......................................................................................................... 19

Berlin Strings - Special Bows I ............................................................................... 20

Berlin Strings - Special Bows II .............................................................................. 21

Berlin Strings - SFX ............................................................................................... 22

2 Soloists Series ............................................................................................................. 23

Nocturne Violin .................................................................................................... 24

3 Metropolis Ark Series .................................................................................................. 25

Metropolis Ark I .................................................................................................... 26

V Integrated QuickHelp Texts 28

VI Tempo Synchronisation and NI's Time Machine 29

VII Blending With Other Libraries 30

VIII Common MIDI CCs 31

IX Maximum Voices 32

2

2


X GUI Overview 33

1 Preset System .............................................................................................................. 33

2 Tempo Options ........................................................................................................... 34

3 UI Views ...................................................................................................................... 35

Performance View ................................................................................................. 35

Mixer View ........................................................................................................... 35

Settings View ........................................................................................................ 40

Controller Table View ............................................................................................ 43

XI Single Articulation Patches 45

1 Standard Articulations ................................................................................................ 45

2 Sustains and Legato .................................................................................................... 48

3 Singles & Rolls ............................................................................................................. 52

4 Trills Orchestrator ........................................................................................................ 54

5 Doubles/Triples ........................................................................................................... 57

6 Repetitions .................................................................................................................. 57

7 Runs Transitions .......................................................................................................... 57

8 Runs Builder ................................................................................................................ 58

9 FX Builder .................................................................................................................... 60

10 Drumset ...................................................................................................................... 63

11 Electric Guitar and Bass .............................................................................................. 64

Guitars ................................................................................................................. 65

Guitar Ensemble ................................................................................................... 65

Electric Bass .......................................................................................................... 65

12 Time Machine-enabled Patches ................................................................................... 67

13 Key Velocity Patches ................................................................................................... 67

XII Multi Articulation Patches 68

1 Multi Slot View ............................................................................................................ 68

2 Multi Locked View ....................................................................................................... 73

3 Longs .......................................................................................................................... 74

4 Shorts .......................................................................................................................... 75

5 Dynamics .................................................................................................................... 76

6 Scale Runs ................................................................................................................... 77

XIII Getting Help 79

3

CAPSULE User Guide


XIV Appendices 80

1 Controller Table - Annotated List ................................................................................. 80

2 New Features .............................................................................................................. 91

3 Configuring Kontakt's Outputs .................................................................................... 93

4

| About this User Guide |

CAPSULE User Guide

I About this User Guide

This document serves as a User Guide for all Orchestral Tools collection releases

marked with the Capsule logo on our website. These collections are powered by

our Capsule scripting framework, developed in-house for best speed, resource

use and usability. This guide is constantly updated as new collections and updates are released. Please

make sure you are using the most recent version, which you will automatically get when installing updates.

You can also download the most recent version in our Helpdesk.

The following table lists all collections with their current CAPSULE version as well as the minimum Kontakt

version.

Please note that only collections using the same CAPSULE version may be used in the same folder! We

advise to keep all collections apart to avoid issues with updates. If in doubt, send us an email and we will

be happy to help you out!

Collection Name Collection Capsule KontaktBWW | Berlin Woodwinds 2.0 2.0 Player 5.3.1+

BWW A | Berlin Woodwinds - Additional Instruments 2.0 2.0 Full 5.3.1+

BWW B | Berlin Woodwinds - Soloists I 2.0 2.0 Full 5.3.1+

BWW C | Berlin Woodwinds - Soloists II 2.0 2.0 Full 5.3.1+

BWW D | Berlin Woodwinds - SFX 1.0 2.0 Full 5.3.1+

BBR C | Berlin Brass - Horn SFX 2.0 2.0 Full 5.3.1+

BPC | Berlin Percussion 1.0 2.1 Player 5.3.1+

BPC A | Berlin Percussion - The Timpani 1.0 2.1 Full 5.3.1+

BST | Berlin Strings 2.0 2.0 Player 5.3.1+

BST A | Berlin Strings - Special Bows I 2.0 2.0 Full 5.3.1+

BST B | Berlin Strings - Special Bows II 2.0 2.0 Full 5.3.1+

BST E | Berlin Strings - SFX 1.0 2.1 Full 5.3.1+

MA1 | Metropolis Ark I 1.0 2.2 Player 5.3.1+

NOC | Nocturne Violin 1.0 2.1 Full 5.3.1+

TOG| The Orchestral Grands 2.0 2.1 Full 5.3.1+

ImportantThis User Guide does not cover downloading, installing and registering Capsule-powered collections.

These topics are explained step by step in the respective Installation Guide, which is linked to in your

download email (the email containing your download code/serial number). You can also find it in our

Helpdesk.

http://helpdesk.orchestraltools.com/kb/faq.php?id=29

http://helpdesk.orchestraltools.com/kb/faq.php?id=34

5

| Introduct ion |

CAPSULE User Guide


II Introduction

Welcome to the Orchest ral Tools CAPSULE User Guide!

CAPSULE (Control And Performance Symphonic Utility Engine) is Orchestral Tools‘ groundbreaking scripting

technology powering a growing number of collections.

Capturing details, the creation of emotive tools with a maximum of efficiency and a dedication to the sound

led us to the Berlin Series. An ambitious project over many years with the vision to create the most complete

and flexible Virtual Orchestra. Capturing the beautiful details, gestures and colors of a symphonic body

inspired us to new innovations in the industry.

Recorded in Berlin, we took advantage of the unparalleled acoustics of the room - not too wet to stay

flexible and focussed or to dry to be able to create a fully blendable orchestral body where all the single

instruments and sections come together to a single entity. We engaged renowned musicians from the most

famous orchestras in the world and conceived a whole new workflow, which will instantly support you

realising more realistic results in a shorter time.

After years of development we were the first to present the Adaptive Legato Concept. Capsule senses the

speed of your playing and does not only switch automatically between 3 available legato slots, but also

adapts all important controllers and variables in the background to offer you the most fluid legato you ever

played. Entering the world of Orchestral Tools also means to be on board on a journey infused with new

ideas and the introduction of tools never built before. The Runs Builder lets you create the most convincing

fast runs based on pre-recorded micro runs. These are just a few examples of our investment into the future

of orchestral sampling.

Using our extensive set of articulations efficiently is fundamentally important. That´s why we didn’t just

develop yet another tool; we conceived a radically new workflow which will instantly support you:

The Control And Performance Symphonic Utility Engine.

Capsule keeps all our different colors with care and integrates perfectly into Native Instruments´ Kontakt at

the highest possible system efficiency. We simply improved everything. A for a long time desired multi

articulation facility exists now in parallel to fully flexible single articulation patches.

You can easily apply True Legato to any long notes of your choice. There is so much more potential in these

brilliantly sampled collections to exhaust. So why simply switch between articulations, when you are able to

blend them? Like a painter mixing colors to create new shades, you can easily do the same with

articulations. Doing this in a time-efficient way leads to a wholly new technique:

Polyphonic Keyswitching enables you to stack different colors over each other. Simply press up to 4

keyswitches simultaneously and choose how you want to blend or switch the chosen articulations. Choose

between equal power crossfading, velocity switching, MIDI controller switching or open up a whole new

world of sounds with our 2D equal power morphing. With an assigned midi CC this is even easier to do.

You don´t need to waste time anymore setting up complicated sample mappings. Your samples are now

intuitively and easily playable.

6

| Introduct ion |

CAPSULE User Guide

We redefined the way how you mix within a Capsule Patch. With the innovative Auto Gain the overall

volume stays at the same level while you morph between the different microphone positions. A feature that

helps you to keep the natural orchestral dynamics in balance. Fast tools like the chaining option or the

purge all function will support you to find the sound and timbre to your personal taste in a faster and more

elegant way. Every channel can now be routed to an output of your choice.

To allow all these articulations to stack, switch and morph, we completely overhauled the Berlin Series. A

dedicated team re-arranged the natural orchestral dynamic balance between all Berlin instruments and

articulations, matched the mic position volumes to each other and developed a new approach to set up the

release samples in a more natural and organic way. Now each articulation sits wonderfully and

convincingly in the best-balanced room you ever heard.

One of our key visions for the Capsule is to save time, especially when composers build their own

templates. Capsule‘s Controller Table holds all assigned elements and midi controllers in a dedicated list.

Once you have set up a custom controller table, you can save it in a preset on your computer to share it

between different Capsule instances. It has never been so fast and easy to set up your Berlin Orchestra.

Flexibility in Capsule’s single articulation patches is just paramount. Now you can create your very own

Round Robin rules. With only one click you can use the neighboring zones to triple the available number of

Round Robin samples to add a more organic feel and to avoid any kind of machine gun effect. Also each

Round Robin can be controlled individually. Turn off specific dynamic layers to adjust the dynamic range to

your needs or apply our new Niente option to any articulation, where the dynamic range starts with

completely silence. This is an important feature especially with strings, where a tone can evolve from total

silence as well as for use with a breath controller. Almost every feature here is available for each

articulation in the multi articulation patches as well. But of course, you don´t have to change anything. We

already designed a very playable and optimized setup for you. Just load a patch and play.

Orchestral Tools is a sampling project driven by a few composers like you with their vision of a growing

orchestral palette. We develop Expansion Sets for all our Main Collections which will extend your personal

library in an organic way. The Berlin Series is a growing project - always up to date. We constantly work

on existing collections to make them even better and to unleash their full potential. Maybe it is the whole

package of an unparalleled sound, innovations, captured details and intuitive handling which has made our

products standard tools for many composers over the world.

7

| Recording and Concept |

CAPSULE User Guide


III Recording and Concept

We are happy to have found a sonic home for our collections at the Teldex Scoring Stage in Berlin.

The large recording stage at Teldex 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 catapults

our work to a new level of orchestral sampling.

The quality of a sampled collection begins with the recording. Every Orchestral Tools collection is recorded

at 96khz with state of the art equipment. The full editing and post-production process uses these 96khz

recordings without downsampling. We very rarely denoise our recordings and never treat them in any other

automated way. If tuning is needed, it is done by ear without resorting to tuning algorithms. Only at the very

end, right before the samples are mapped into their instruments, the content is converted to 48khz for best

use of resources.

Our goal is to provide a set of tools that easily adapts to any workflow and creates a coherent sonic

representation of the orchestra. The main way we achieved this is by recording every instrument in its

orchestral position. All collections come pre-panned and pre-mixed with their respective volumes

balanced. If there are multiple types of the same instrument, they are recorded in slightly different positions,

yet still in their general section area. The different snare drums in Berlin Percussion, for example, have been

recorded slightly spread over the general "snare drum area" within the percussion section. This allows you to

have a very wide and full sound when combining multiple instruments.

We deliberately choose to also record non-traditional instruments as belonging to a symphonic setup, like

electric guitars and a drumset in our Metropolis Ark Series. Modern media scoring introduces a host of new

instruments into the established orchestral lineup and we feel these instruments deserve the same care and

precision in fitting them into the symphonic sound as their traditional counterparts.

All collections feature a number of microphone positions commonly used in orchestral recording. The

position of these microphones is identical in every collection, which means that for example the Tree is much

nearer to the string section that it is to the percussion section (because the percussion section is situated at

the back of the orchestra). This enabled lively acoustics that come pre-mixed for the respective stage

position. The choice of mic positions also depends greatly on the instrument. Some instruments, especially in

the percussion section, benefit greatly from a M/S position to enable accurately positioning the sound

source.

Wherever possible, similar instruments use the same mapping scheme so it is usually possible to transfer

MIDI data from one instrument to another easily. This is especially important and useful for percussion.

8

| Instrument Collect ions |

CAPSULE User Guide

IV Instrument Collections

This section lists details about all instrument collections this User Guide applies to, including a description of

the included instruments, features specific to these collections as well as technical details.

Please note that all Expansion Collections work standalone and do not require the corresponding Main

Collection.

9

| Instrument Collect ions | Berlin Series

CAPSULE User Guide


4.1 Berlin Series

The Berlin Series is Orchestral Tools' ongoing journey to harnessing the sound of the Teldex Scoring stage in

an all-purpose orchestral sample collection.

Every major section of the orchestra is represented by one Main Collection, which contains all essentials

instruments and articulations and forms the backbone of any symphonic piece. These collections are

expanded and continued by special expansion collections, which add additional instruments or playing

techniques.

The following table lists all Berlin Series Collections currently released - click any name to jump to a

description of its content and unique features.

When you load any Berlin Series patch inside Kontakt, the instrument slot will show an icon representing the

orchestral section as shown below.

Berlin Woodwinds Berlin Brass Berlin Percussion Berlin Strings

Main Collection Horn SFX Main Collection Main Collection

Additional Instruments The Timpani Special Bows I

Soloists I Special Bows II

Soloists II SFX

SFX

10


CAPSULE User Guide

4.1.1 Berlin Woodwinds

Berlin Woodwinds unites a host of Germany's leading woodwind players providing OrchestralTools'

critically-acclaimed vision of the orchestral woodwind section including extensive solo performances.

The first full-section sample library in the Berlin Series focused on core articulations as well as a large

amount of trills and tempo-synced runs, Berlin Woodwinds is your go-to solution for orchestral woodwinds.

All recorded runs are completely identical to the string runs in Orchestral String Runs, to make combined

string/woodwind lines very easy. Berlin Woodwinds has the Trills Orchestrator, bringing trills up to the

interval of a fifth to your compositions at a level of realism never seen before. The Runs Builder lets you

create custom-built runs as you need them without having to make do with just a handful of pre-recorded

runs. A large selection of recorded Scale Runs and figures in all keys provide sweeping airiness to your

compositions. We chose to record both portato and staccato articulations at two different lengths to give you

full control over the sound of your woodwinds. BWW has fully customisable dynamics, allowing you to

integrate the library seamlessly into your templates playing nice with other woodwind libraries you use.

Instrumentation and RecordingBerlin Woodwinds contains twelve instruments or instrumental sections, which are divided into patches

containing a single articulation as well as multi articulation patches which also include scale runs. You will

find all of these patches inside the Instruments folder. The collection contains the following instruments or

sections, as they appear in your instruments folder:

00. Piccolo

01. 1st Flute

02. 2nd Flute

03. 3rd Flute

04. Flutes 8va (Ensemble)

05. 1st Oboe

06. 2nd Oboe

07. English Horn

08. 1st Clarinet

09. 2nd Clarinet

10. Clarinet Ens (Ensemble)

11. 1st Bassoon

12. 2nd Bassoon

This structure is identical for Single Articulation, Multi Articulation and Time Machine-enabled patches.

All instruments within a section are different instruments played by different musicians, not just additional

recording passes.

You have free choice between three microphone positions, Close, Room and Mix, the latter being a

memory-friendly premix of the former two.

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.

11


CAPSULE User Guide


4.1.2 Berlin Woodwinds - Additional Instruments

Berlin Woodwinds marked a giant milestone both for our company well as for our users. Our first full-section

sample library focused on core articulations as well as a large amount of trills and tempo-synced runs, Berlin

Woodwinds is your go-to solution for orchestral woodwinds. We are happy to expand upon that foundation

by introducing Berlin Woodwinds - Additional Instruments.

Berlin Woodwinds - Additional Instruments adds three completely new instruments to the woodwinds line-up,

namely Eb Clarinet, Bass Clarinet and Contrabassoon. All three instruments have been sampled with the

same precision and sonic depth as the original BWW library. Again we chose to record both portato and

staccato articulations at two different lengths to give you full control over the sound of your woodwinds.

Instrumentation and RecordingBerlin Woodwinds - Additional Instruments contains three new instruments, which are divided into patches

containing a single articulation as well as multi articulation patches. You will find all of these patches inside

the Instruments folder. The collection contains the following instruments, as they appear in your instruments

folder:

13. Eb Clarinet

14. Bass Clarinet

15. Contrabassoon

Note that the instrument numbering continues the sequence from the Berlin Woodwinds Main Collection.


You have free choice between three microphone positions, Close, Room and Mix, the latter being a

memory-friendly premix of the former two.




12


CAPSULE User Guide

4.1.3 Berlin Woodwinds - Soloists I

One area where we felt BWW could be improved was solo lines and generally every kind of very

expressive, lyrical passages that are very exposed in the orchestration. Our research showed that these

kinds of lines work very well with dry recordings, so we captured the instruments for this soloist collection at

the Teldex Booth. Coupled with special impulse responses courtesy of Samplicity, the Solo Flute, Solo Alto

Flute, Solo English Horn, Solo Oboe and Solo Clarinet will effortlessly fit into any composition. This

collection features special Changing Notes and Grace notes, as well as Trills using the Trills Orchestrator

technology.

Berlin Woodwinds - Soloists I features special recorded sustained notes: Instead of "flat" sustains, we

recorded two styles of each sustain. One with a very light crescendo, one with a very light decrescendo.

These are triggered by key velocity and allow very lively playing. To keep the amount of phasing to a

minimum, we recorded one sculpted velocity layer that is treated with complex filters to enable dynamic

playing.

Instrumentation and RecordingBerlin Woodwinds - Soloists I contains solo instruments, which are divided into patches containing a single

articulation type as well as multi articulation patches. You will find all of these patches inside the Instruments

folder.

16. Solo Flute

17. Solo Alto Flute

18. Solo Oboe

19. Solo English Horn

20. Solo Clarinet



You have free choice between two microphone positions with different sonic characteristics. These

microphone positions are switchable in the GUI and are assignable to a MIDI CC.

Berlin Woodwinds - Soloists I are panned center by default, so you can adjust the panning to your liking.

13


CAPSULE User Guide


4.1.4 Berlin Woodwinds - Soloists II

After the release of Berlin Woodwinds - Soloists I it became apparent that not only did the concept of

expressive lyrical solo woodwinds worked beautifully but also that there was so much sonic potential

untapped. For Soloists II we took the lower woodwinds into the Teldex Solo booth and recorded a

generous set of articulations, including Grace Notes for the Bass Clarinet.

Berlin Woodwinds - Soloists II again features special recorded sustained notes: Instead of "flat" sustains, we

recorded two styles of each sustain. One with a very light crescendo, one with a very light decrescendo.

These are triggered by key velocity and allow very lively playing. To keep the amount of phasing to a

minimum, we recorded one sculpted velocity layer that is treated with complex filters to enable dynamic

playing.

Instrumentation and RecordingBerlin Woodwinds - Soloists II contains solo instruments, which are divided into patches containing a single


folder.

21. Solo Bass Flute

22. Solo Bass Oboe

23. Solo Bass Clarinet

24. Solo Bassoon





Berlin Woodwinds - Soloists II are panned center by default, so you can adjust the panning to your liking.

14


CAPSULE User Guide

4.1.5 Berlin Woodwinds - SFX

The woodwind section allows for a nearly limitless amount of effects and interesting playing techniques. After

focusing on core articulations with Berlin Woodwinds and its Additional Instruments, it was time to delve

head on into Woodwind SFX. Berlin Woodwinds - SFX adds SFX patches for a number of woodwind

instruments, including Fluttertongue Legato, bendings, whirling effects, wind noises and lots of rips and

special runs. An added bonus are the comprehensive selection of Flute Ensemble SFX as well as the special

Low Bassoon Ensemble which provides a truly deep and resonant low layer to your compositions.

Instrumentation and RecordingBerlin Woodwinds - SFX adds six new instruments or ensembles with assorted SFX to your woodwind

arsenal: Piccolo, Flute, Flute Ensemble, Clarinet and Bassoon all bring extensively sampled FX to the table.

The Low Bassoon Ensemble (3 Bassoons and 3 Contrabassoons ins octaves) adds a completely new colour

to the Berlin Woodwinds lineup and includes common standard articulations. All these are divided into

patches containing a single articulation as well as multi articulation patches. You will find all patches inside

the Instruments folder. The collection contains the following instruments, as they appear in your instruments

folder:

25. Piccolo SFX

26. Flute SFX

27. Flute Ensemble SFX

28. Clarinet SFX

29. Bassoon SFX

30. Carver's Low Bassoon Ensemble SFX



You have free choice between four microphone positions, Close, Tree and Surround, as well as an A/B

setup.




15


CAPSULE User Guide


4.1.6 Berlin Brass - Horn SFX

Berlin Brass represents our vision of symphonic brass sampling. This series is currently in active production.

Berlin Brass - Horn SFX marks Orchestral Tools‘ first foray into the exciting world of orchestral brass

sampling. We have recorded four french horns at our favourite scoring stage - the Teldex Studio in Berlin.

The sound of the french horn forms an important part of film music: Not only does the instrument lend itself

beautifully to sweeping melodic lines as well as providing a harmonic backbone to the orchestration, but

also french horns come to shine in the effects department. Under the hands (and lung capacity) of a skilled

player, the instrument is capable of an almost infinite number of interesting effects.

For Berlin Brass - Horn SFX, we took a 4 horn section and recorded them in position both with tutti

articulations, as well as each instruments individually. The result is a never before-seen flexibility in creating

horn arrangements. Berlin Brass - Horn SFX gives you a quality set of standard articulations, but the real

focus of the collection lies on effects. Our innovative cluster builder allows you to assign the articulation for

each horn separately without the need for multiple tracks. Automatic voice detection makes playing a

breeze.

All divisi articulations have been recorded in place for each horn. We hope you will be as blown away as

we were when we heard the different approaches of each player to the same articulation. Using the divisi

articulations, you in effect get four unique takes of each articulation - it is like four solo horn libraries in one.

Plus they blend beautifully.

And then there‘s the tutti stuff. Last but not least, we took greatest care to make our piano really piano and

our fortissimo really fortissimo. Sampled brass tends to hold back. This won‘t happen in Berlin Brass - Horn

SFX. These instrumentalists gave it all they got and now you have the fruit of their labour right under your

fingers.

We hope you find this collection inspiring and useful for your work. Let the FX begin!

Instrumentation and RecordingBerlin Brass - Horn SFX features four french horns played both as a tutti section as well as individually.

The patches are organised inside the Instruments folder in Divisi and Tutti subfolders with Single Articulation

patches containing a single articulation and Multi Articulation patches providing access to all articulations in

one single patch.

The Tutti folder contains all tutti articulations, with one articulation per patch.

The Divisi folder contains the Cluster Builder and Random Staccato patches, with the four individual

instruments controllable inside the patch. It also contains four subfolders for the four instruments with the

articulations separated (again one articulation per patch).

All instruments are subtly different instruments played by different musicians, not just additional recording

passes and have been recorded in orchestral seating position including panning.

You have free choice between three microphone positions, Close, Mid and Room, the latter being a

splendidly lofty Decca Tree with M50s. These microphone positions are switchable in the GUI. Additionally,

all core articulations have been recorded with multiple velocity layers for realistic dynamics.


16


CAPSULE User Guide

4.1.7 Berlin Percussion

Berlin Percussion marks another major addition to the Berlin Series, well known for its flexibility, detail and

its extensive sets of articulations, recorded with first call musicians from world-famous Orchestras at the

Teldex Scoring Stage in Berlin.

All instruments are recorded in their natural positions within the beautiful acoustics of Teldex, famous for its

perfect proportions of reverb for samples and live recordings. A room that isn't too wet to stay flexible with

your productions

and which also isn't too dry so that its natural acoustics help to blend all the orchestral instruments together

as one entity.

With Berlin Percussion we followed the Multiple Instrument Concept that allows you to create your own

unique percussion ensembles out of e.g. 7 different Snare Drums or 4 sizes of Gran Cassas. All of them are

sampled individually and rich in details and articulations. A uniform mapping structure and articulation set let

you easily stack instruments over each other. All articulations and instruments are preserved in their natural

volume balance. Switching e.g. from one snare drum to any other without changing notes in your

arrangement is now possible.

The Instruments in Berlin Percussion offer a range of dynamics never heared before and with Capsule we

were able to create absolutely smooth transition curves between all these dynamic layers to come as close

to the real instrument as possible. The propensity to detail, the extensive set of articulations and the different

mallets you can choose from make Berlin Percussion a suberb Orchestral Composing Tool which is designed

to be used for many a year.

Instrumentation and RecordingBerlin Percussion contains all major orchestral percussion instruments excluding timpani (which are covered

by Berlin Percussion - The Timpani), which are divided into patches containing a single articulation as well as

multi articulation patches. You will find all of these patches inside the Instruments folder. The collection

contains the following percussion sections, as they appear in your instruments folder:

01. Drums

02. Mallets & Keys

03. Unpitched Metals

04. Misc. Percussion

05. Toys

Berlin Percussion features Multi Articulation Patches for selected instruments where the number and kind of

articulations made those patches sensible.

On all instruments, where it is possible to dampen the sound, we have recorded both regular samples as

well as damped samples. The TrueDamping feature allows you to create realistic percussion lines.

It is also possible to switch between recorded velocity layers instead of morphing between them, harnessing

the power of having a multitude of recorded layers and avoiding phasing.

You have free choice between five microphone positions, Spot, Close, Tree, Surround and A/B as well as

an M/S setup for select instruments.

17


CAPSULE User Guide





18


CAPSULE User Guide

4.1.8 Berlin Percussion - The Timpani

Berlin Percussion forms the backbone of your percussion parts and Berlin Percussion - The Timpani adds one

of the most expressive instruments to the mix: The Concert Timpani. We went out and sampled this

wonderful instrument with five different mallets, seperate left and right hand samples and full control over

rolls and hits. Topped with an assortment of tempo-synced repetition patches and effects, Berlin Percussion -

The Timpani will serve you well on all your compositions.

Instrumentation and RecordingBerlin Percussion - The Timpani contains multisampled concert timpani with a choice of five mallets, which

are divided into patches containing a single articulation as well as a multi articulation patch. You will find all

of these patches inside the Instruments folder. The collection contains the following mallets, as they appear in

your instruments folder:

01. Normal

02. Soft

03. Hard

04. Impact

05. Baroque

On all Single Hits patches, we have recorded both regular samples as well as damped samples. The

TrueDamping feature allows you to create realistic percussion lines.

It is also possible to switch between recorded velocity layers instead of morphing between them, harnessing

the power of having a multitude of recorded layers and avoiding phasing.

You have free choice between four microphone positions, Close, Tree, Surround and A/B.




19


CAPSULE User Guide


4.1.9 Berlin Strings

Berlin Strings is our flagship string library featuring the talents of Berlin's best string players to provide you

with an unparalleled assortment of sampled string articulations for your compositions.

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 Berlin Woodwinds, so you can play woodwind/string

runs in perfect sync. We also again included Playable Runs patches which allow you to play custom runs.

Instrumentation and RecordingBerlin Strings contains all five orchestral string sections plus the whole string ensemble, which are divided

into patches containing a single articulation as well as multi articulation patches including scale runs. You will

find all of these patches inside the Instruments folder. The collection contains the following sections, as they

appear in your instruments folder:

00. Whole Ensemble

01. Violins I (8 players)

02. Violins II (6 players)

03. Violas (5 players)

04. Celli (5 players)

05. Basses (4 players)


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

samples.


setup. All Violins I patches have a special Concertmaster position which you can dial in to your taste to add

presence.




20


CAPSULE User Guide

4.1.10 Berlin Strings - Special Bows I

With Berlin Strings, our comprehensive flagship string library firmly establishing the Teldex sound in the

world of orchestral strings, we are proud to bring the Berlin Strings line-up to the next level.

Berlin Strings - Special Bows I introduces much sought-after special bowing techniques for Violins I, Violins II

and Violas. Included is a large complement of Sul Ponticello, Sul Tasto and Flageolet articulations, as well

as Col Legno for all sections.

Following the idea of our symphonic sampling project to do things right and in detail, we decided to really

delve deep into those special bows and provide them as standalone expansions instead of just including

some basic patches in the main collections. All articulations have been recorded with the same depth and

scope as Berlin Strings. With Sul Tasto and Sul Ponticello legato, you can play melodic lines with the same

sonic depth as the main collection. RRs on shorts patches counter the dreaded machine gun effect even when

playing Flageolet.

Instrumentation and RecordingBerlin Strings - Special Bows I contains special bow articulations for all high orchestral string sections, which

are divided into patches containing a single articulation as well as multi articulation patches. You will find all

of these patches inside the Instruments folder. The collection contains the following sections, as they appear

in your instruments folder:

01. Violins I

02. Violins II

03. Violas



samples.



presence.




21


CAPSULE User Guide


4.1.11 Berlin Strings - Special Bows II

With Berlin Strings, our comprehensive flagship string library firmly establishing the Teldex sound in the

world of orchestral strings, we are proud to bring the Berlin Strings line-up to the next level.

Berlin Strings - Special Bows II introduces much sought-after special bowing techniques for Celli and Basses.

Included is a large complement of Sul Ponticello, Sul Tasto and Flageolet articulations, as well as Col Legno

for all sections.

Following the idea of our symphonic sampling project to do things right and in detail, we decided to really

delve deep into those special bows and provide them as standalone expansions instead of just including

some basic patches in the main collections. All articulations have been recorded with the same depth and

scope as Berlin Strings. With Sul Tasto and Sul Ponticello legato, you can play melodic lines with the same

sonic depth as the main collection. RRs on shorts patches counter the dreaded machine gun effect even when

playing Flageolet.

Instrumentation and RecordingBerlin Strings - Special Bows II contains special bow articulations for all low orchestral string sections, which

are divided into patches containing a single articulation as well as multi articulation patches. You will find all

of these patches inside the Instruments folder. The collection contains the following sections, as they appear

in your instruments folder:

04. Celli

05. Basses



setup.




22


CAPSULE User Guide

4.1.12 Berlin Strings - SFX

The number of interesting sounds a string section can produce is pretty much limitless. After covering core

articulations as well as special bowing in Berlin Strings and its Special Bows expansions, Berlin Strings - SFX

turns into the world of special effects. This collection introduces Measured Trills for Violins and Celli, as well

as Bartok Pizzicato and tons of clusters, Aleatoric Glissandi, Rips and Chromatic Runs.

Instrumentation and RecordingBerlin Strings - SFX contains FX articulations for all orchestral string sections, which are divided into patches


the Instruments folder. The collection contains the following sections, as they appear in your instruments

folder:

01. Violins I

02. Violins II

03. Violas

04. Celli

05. Basses



samples.



presence.




23

| Instrument Collect ions | Soloists Series

CAPSULE User Guide


4.2 Soloists Series

The Soloists Series unites Orchestral Tools' take on expressive solo instrument created to stand their ground

even in very exposed passages. A series of beautiful sounds from selected artists from Berlin which we

captured with a solo-style dynamic range and a variety of lyrical expressions. Soloists Series collection use

a single velocity layer for long note articulations to avoid phasing issues. Also rather than using static

sustained notes, sustains are recorded with subtle dynamic variations resembling the way in which a

performer would play a phrase.

The following table lists all Soloists Series Collections currently released - click any name tojump to a


When you load any Soloists Series patch inside Kontakt, the instrument slot will show an icon representing

the orchestral section as shown below.

Woodwind Soloists Series Nocturne Series

Soloists I Nocturne Violin

Soloists II

Note: The Woodwind Soloists are part of the Berlin Series.

24

| Instrument Collect ions | Soloists Series

CAPSULE User Guide

4.2.1 Nocturne Violin

Over multiple test sessions we made the first recordings to prove our new concept of a next-generation

virtual Solo Violin. We had a lot of ideas and decided to extend our Adaptive Legato Concept to a

maximum with 14 Legato Types and 12 different lengths and styles of long notes to make this Solo Violin

playable at a degree of realism and variety of expression never heard before.

With CAPSULE this instrument will be usable in a very intuitive way.

With an extended version of our innovative Adaptive Legato System, the Nocturne Violin is eminently

playable and shines at every tempo. It works just as great for slow emotional legato lines as for quick and

very fast detaché Runs. Every legato style can be played slurred or detaché, changeable at any time by

holding the sustain pedal.

Nocturne Violin continues the Single Dynamic Layer concept from the Woodwinds Soloists greatly reducing

phasing and other issues while keeping lively dynamics thanks to complex filters. The Trills Orchestrator

again lets you play trills up to a fifth with real recordings - no artificial transitions involved.

Instrumentation and RecordingNocturne Violin contains solo violin articulations, which are divided into patches containing a single


folder.




Nocturne Violin is panned center by default, so you can adjust the panning to your liking.

25

| Instrument Collect ions | Metropolis Ark Series

CAPSULE User Guide


4.3 Metropolis Ark Series

The Metropolis Ark Series brings Orchestral Tools into a new era: This series unites collections crafted to

ease working on tight deadlines. Special sections made up of unconventional instrument combinations, the

inclusion of non-orchestral instruments into the orchestral body and a focus on making ready to use tools

available eminently playable out of the box make Metropolis collections a great way to expand any sonic

palette.

The following table lists all Metropolis Ark Series Collections currently released - click any name tojump to a


When you load any Metropolis Ark Series patch inside Kontakt, the instrument slot will show an icon

representing the series volume as shown below.

Metropolis Ark Series

Metropolis Ark I

26


CAPSULE User Guide

4.3.1 Metropolis Ark I

Metropolis Ark I not only marks Orchestral Tools' foray into the wonderful world of epic sampling, but also

introduces a Choir into the Teldex ambience, completely positioned and ready to seamlessly blend into any

arrangement. We deliberately chose to also record non-traditional instruments as belonging to a symphonic

setup, like electric guitars and a drumset. Modern media scoring introduces a host of new instruments into

the established orchestral lineup and we feel these instruments deserve the same care and precision in fitting

them into the symphonic sound as their traditional counterparts.

Instrumentation and RecordingMetropolis Ark I contains recorded sections grouped into four "Districts", which are divided into patches


the Instruments folder. The collection contains the following sections, as they appear in your instruments

folder:

District I - Orchestra

01. Finkenstein Strings (High)

02. Wolfenstein Strings (Low)

03. Holbein Bassoons a4

04. Barnak Contrabassoons a4

05. Kommandanten Trumpets a4

06. Schwarzdorn Horns a9

07. Rotdorn Horns a3

08. Friedrich Bass Trombones a3

09. Koenigsberger Cimbassi a3

10. Hindenburg Tubas a3

District II - Choir

01. Viktoria Choir (High)

02. Aarauer Choir (Low)

District III - Percussion

01. Kopernikus Percussion

02. Drake Piano

District IV - Band

01. Kornmesser Guitar Ensemble

02. Kornmesser Guitar (L)

03. Kornmesser Guitar (R)

04. Troppauer Bass (Dry)

05. Gardeschützen Drumset

Metropolis Ark I features Multi Articulation Patches in a separate folder for selected instruments where the

number and kind of articulations made those patches sensible.

You have free choice between five microphone positions, Spot, Close, Tree, Surround and A/B. GITARREN

27


CAPSULE User Guide





28

| Integrated QuickHelp Texts |

CAPSULE User Guide

V Integrated QuickHelp Texts

To help you use these collections to their fullest potential, we have integrated QuickHelp texts for nearly all

UI elements. These texts feature short descriptions of the relevant feature. You can find more detailed

information in this User Guide.

The texts are displayed in Kontakt's Info Pane. To show this pane, click on the Info Button in Kontakt's

toolbar. Hover over an interface element to see its associated QuickHelp text.

29

| Tempo Synchronisat ion and NI's Time Machine |

CAPSULE User Guide


VI Tempo Synchronisation and NI's 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 the Berlin Series, we recorded all tempo-synced runs and figures at different

tempos, with the script of the instrument deciding in real time which sample to use. The chosen sample is

then stretched to your host tempo by means of Kontakt‘s Time Machine time-stretching engine.

Note that when using extreme tempos not playable by real musicians, you will hear artefacts and the

playback will not be clear. If you use the auto tempo mode, 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 host’s 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.

RunsTo make the runs in the Berlin Series seamlessly integrate with our own Orchestral String Runs, 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.

30

| Blending With Other Libraries |

CAPSULE User Guide

VII Blending With Other Libraries

We have spent considerable energy on making our collections fit into your existing workflow and make it

work together effortlessly with other libraries you are using.

1. The right reverbYou can control the amount of room information with the adjustable microphone positions in the Mixer View.

The Tree/Room position is recommended for composing, providing a nice balance between presence and

ambience. Surround and AB are much more reverberant and best used to add character to the sound. Using

the Close position solely allows you to shape the sound even further by using your own reverb - at the

expense of losing 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 KontaktWe have chosen to not normalise the audio samples used in our collections. 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 the patches,

you can either raise the volume of individual patches or raise Kontakt’s master volume slider.

Kontak t Maste r Volum e

Volume Range SliderDynamics 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

slider in the Settings View allows you to set the overall volume range of your instruments between the lowest

and the highest velocity.

If the Volume Range setting is at 0, the samples will have their recorded dynamic range. Move it to the far

right and the lowest velocities will be very quiet while the highest velocities will be pretty loud, giving you

the full possible dynamic range. By default, this slider is set to give you some nice dynamic range compared

to 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 our collections with your other libraries with ease - but then why

would you want other libraries?

31

| Common MIDI CCs |

CAPSULE User Guide


VIII Common MIDI CCs

We have taken great care to not clash with your existing MIDI CC allocations for all collections. Most CCs

used by Capsule are standard CCs and should work well with your current setup. Nevertheless, the scripts

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 CCs are user-assignable, so you can change them if you like. A number of

additional CCs are used for internal calculations. These CCs are shielded to the outside so you do not need

to worry about them.

Here is a list of all CCs used by default and their use:

CC 1The modwheel controls morphing through the velocity layers if the X-Fade mode is activated on the Main

Knob. You can change this CC in the Controller Table view.

CC 11All patches have CC 11 (Expression) set to control the general patch volume. You can assign this CC freely

in the Controller Table.

CC 7In all patches, CC7 is mapped to the Kontakt volume slider. Use CC7 for balancing the collections in your

template. You can assign this CC freely in the Controller Table.

CC 3This CC controls the vibrato mode (select patches only). You can assign this CC freely in the Controller

Table.

CC64 (Sustain)All Longs patches (as well as of course Longs articulations within Multi Articulation patches) use CC64 to

hold currently playing notes after you have let go of their respective keys.

In the case of retriggered notes (for example when a new chord uses notes already present in an earlier

chord), the note(s) common to both chords will be faded out and retriggered. This allows you to play

repeated chords and chord changes in a very realistic manner. This feature works automatically and does

not need to be activated.

You can assign this CC freely in the Controller Table.

CC115Capsule uses CC115 internally to purge samples. Do not assign this CC to any function and make sure it is

not sent automatically by any MIDI device. Do not delete this CC115 assignment in Kontakt's Automation-

MIDI tab, otherwise the patches will not work correctly! There is also a warning shown in Kontakt's

automation tab. Heed it! CC115 sent by any outside device will be ignored by all Capsule patches.

32

| Maximum Voices |

CAPSULE User Guide

IX Maximum Voices

Every patch in Kontakt is assigned a maximum number of voices it is allowed to play. If that number is

exceeded while playing, Kontakt will automatically stop the earliest played voices still sounding.

Kontakt reserves a bit of system memory for every possibly playing voice. That means that if this number is

set far higher than needed, superfluous memory will be used.

By default, all Capsule patches have been set with a default maximum voice limit tailored to how the

particular patch is generally used. That means that Legato patches will have a higher value than for example

Trills.

Multi Articulation patches have a rather high value to enable complex articulation routings.

Maxim um Voi ces

If you use a lot of microphone positions (esp. in Berlin Percussion) and/or have a very dense orchestration,

you might encounter dropped notes. In this case just raise the maximum voices limit in the Kontakt patch UI.

Experiment with the setting to find the sweet spot for your applications. After you have found the value that

works for you, just save the patch and it will be recalled every time you load this patch.

33

| GUI Overview |

CAPSULE User Guide


X GUI Overview

Capsule collections have two distinct types of patches, Single Articulation Patches as well as Multi

Articulation Patches. Both share some common features and UI elements, but they differ in one big respect:

While the Single Articulation Patches feature one articulation each, the Multi Articulation Patches allow you

to combine multiple articulations in groundbreaking ways thanks to the power of Capsule.

The following sections show the general UI for both patch types with detailed explanations of the features

these patches offer. Note that not all features apply to all patches. If you do not see a particular UI element,

the patch does not support this particular feature. Note that screenshots show various products depending on

which collection is best suited to show that particular feature. Also things might look a bit different on your

screen if you have changed the default settings of patches.

10.1 Preset System

Capsule features a powerful preset system, which allows you to transfer values and settings between

different articulations and instruments.

The preset system intelligently applies your settings when you reload them in other single or multi instruments

and will only restore the settings that actually apply to that instrument.

All instrument as well as mixer settings will be recalled. So you can for example set up your perfect

microphone mix with the Soft Low Layer option in one patch and reload the same setting into any other patch

of the same collection.

Note that the loaded ar t iculat ions of Mul t i Inst rument Patches are not recal led by design

to avoid wrong assignments.

Default PresetThere is one default preset, which you can save and load with one click by clicking the respective buttons in

the GUI. This default preset is shared by all Capsule patches within a collection. This means you can set any

patch up the way you want it and use the same settings in any other patch just by loading the default preset.

When saving for loading the default preset, a confirmation message will be displayed in the Patch InfoView

area in the Performance View.

De fault

Pre se t

Individual PresetsYou can also create individual presets that can be saved under a unique name and loaded any time. Saving

and loading works the same way as with the default preset. Just click the respective button at the top right of

the UI. A standard Save/Load dialog will appear giving you access to your file system. You can store these

presets anywhere you like; they do not need to be in the library folder.

34

| GUI Overview | Tempo Options

CAPSULE User Guide

10.2 Tempo Options

A number of articulations in a lot of collections sync to your host tempo. Depending on which collection you

are using, these can be runs, 16th or triplet repetitions, or even trills. Most of the time these patches will

automatically conform to your project tempo without you having to do anything. But in the instances where

you want to change something, there are a number of options. The tempo options can be found in different

places, depending on the type of patch you are loading. Multi Articulation Patches have them in the Settings

View; Single Articulation Patches show them in the Performance View.

Tem po Options

Lock to HostThis option makes the instrument follow the tempo set in your host sequencer (or Kontakt if you are using

Kontakt standalone). Capsule always calculates tempo-synced patches in real time. That means if you

change the tempo while a note is playing, Capsule will adjust the tempo to the new value. This also works

with tempo ramps, but there might be TimeMachine artifacts doing so.

Auto Tempo

If enabled, the script will automatically set the Tempo Slider to the best-sounding value for the current tempo.

Tempo Sl ider

This slider allows you to play the sample in double tempo, half tempo or a triplet feel.

Lock to Beat

If enabled, Capsule will synchronize the start of the sample to the next beat. This helps for example when

playing multiple trills at the same time in perfect sync.

Manual TempoIf the Lock to Host option is off, the instrument switches to Manual Tempo mode. Use the slider to set the

tempo. If Manual Tempo is active, the instrument does not follow your host tempo.

You can also map the Manual Tempo slider to a MIDI CC in the Controller Table.

Manual Tem po

35

| GUI Overview | UI Views

CAPSULE User Guide


10.3 UI Views

All patches within the our collections use a tabbed UI separated into four pages, or "views", as we call

them.

This section describes these four views along with all their features. Individual features may only be present

in certain instruments.

Views

Se lector

10.3.1 Performance View

The Performance View features the most commonly used controls for each patch. In Single Articulation

Patches, you will find the Main Knob with its velocity layer display here, as well as Con Sordino, Auto

Sustain, vibrato style and other important settings (depending on the instrument). In Multi Articulation Patches,

the Performance View is where you load and customize individual articulations, set your control preferences

and switch between the selected articulations.

The look of the Performance View differs greatly from patch to patch, and even more between Single and

Multi Articulation patches. This is why this view is covered in the respective sections later in this User Guide.

10.3.2 Mixer View

The Mixer view gives you full control over the microphone positions available in the collections.

Mixer ChannelsThe mic positions incl. playing noises appear in the mixer as individual channels. Each channel has the same

basic feature set and layout, as shown here with the Tree microphones:

Name: At the top the name of the channel is displayed. Click on the name to load or unload that position.

Panning: This slider allows you to set the panning of the selected mic position. Ctrl/Opt-Click the slider to

reset it to Center.

Solo/Mute: These work like the Solo/Mute buttons in your sequencer.

Volume: Adjust the fader to lower or raise the volume of the mic position. While playing a level meter to

the right of the slider will show the current audio level. Ctrl/Opt-Click the fader to reset it to its default

value.

db Indicator : Below the volume fader, you can see the current db setting. 0.0 is default.

Chain But ton: Press this button to chain all channels with the indicator lit together. Every action performed

to any track will also apply to all other chained tracks.

36


CAPSULE User Guide

Output Se lector : Click to select the Kontakt output for this mic position. You may need to configure

Kontakt's output matrix first.

Tree

Channe l

Str i p

Global OptionsTo the right of the Mixer View you will find a number of options affecting all mic positions together. These

largely save you from needing to press the corresponding button on each individual mic position.

Auto Gain: If enabled, the combined volume of all mic positions will stay the same when you change the

level of any position. This preserved the dynamic relation of your mic mix while allowing you to put a single

position in the foreground or background. Auto Gain only affects unpurged (loaded) channel strips and needs

at least two active channels.

Chain Al l : This button chains all positions together, so changes to one position will affect all others

equally. Of course Auto Gain will only work if at least one channel is not chained.

Solo/Mute: Soloes or mutes all channels.

Purge: Enables or disables and loads or unloads all mic positions.

Purge Re leases: Enables or disables and loads or unloads all release samples.

Purge Legato Transit ions: Enables or disables and loads or unloads all legato transitions.

Global

Opti ons

37


CAPSULE User Guide


S o l o i s t s S e r i e s

Teldex IRFor the production of our Soloist Collections, recorded at the Teldex Solo Booth, we teamed up with

Samplicity to provide users with a way to seamlessly put the solo instruments into the large Teldex stage as

a perfect complement to the collections recorded at the large scoring stage. In the Mixer View of every

Soloists patch, you will find the Teldex IR controls. The Teldex IR button switches the reverb on or off.

Use the Dry, Pre-Delay and Wet encoders to adjust the amount of reverb to your taste. We have chosen

default values that should work fine for most applications, but feel free to experiment.

38


CAPSULE User Guide

Microphone PositionsAll patches in the collections have several adjustable microphone positions. You will find faders with on/off

buttons for all positions in the Mixer View of each patch: If you switch off a position, its samples will be

purged from memory. Conversely, as soon as you switch a position on, the samples will be loaded. Not

every instrument has all microphone positions. For example for a lot of instruments an M/S position makes

little sense.

Note that all microphone positions are identically set up in all collections and correspond to the respective

mic setups that are used when recording a musical work at the scoring stage. That means that the Close

position is much drier in Berlin Strings than it is in Berlin Percussion, because the percussion section is at the

back of the orchestra. This is intentional to preserve the orchestral balance and spacing. To get a really dry

sound, use the Spot mics or M/S.

M/SThe M/S position is recorded in a mid/side setup. If you have a sequencer able to process the mid/side

channels separately you can use this position to freely adjust the stereo spread.

SpotThe spot microphones have been positioned as close to the instrument as possible and give you the driest

and most direct sound.

CloseIncrease the amount of the Close position if you want to have a more direct sound with less response of the

room. Raising the volume of the Close mics will also increase the playing noises made by the musicians,

providing added realism for intimate settings.

Tree (Room in BWW)The Tree microphones provide a balance between Close and Surround. Use them to add presence to the

sound by allowing some room response in, while still keeping the sound relatively controlled. This is the

recommended mic position and is activated by default.

Mix (BWW and BBR C only)The Mix position is a mixture between Close and Room. This position has a rather direct sound, but also

features a lot of room information for realism.

The Room/Close and Mix positions exclude one another to avoid phasing. If you activate the Mix

positions, Room and Close will be deactivated and vice versa.

SurroundIncrease the amount of the Surround position if you want to have as much room information as possible. The

reverb will increase while the direct sound decreases.

A/BThe A/B position features a wide stereo image and is of great use as a supporting microphone

Concertmaster (BST Violins I only)

The Violins I have a special concertmaster microphone, which lets you add the concertmaster (1st violinist)

prominently.

39


CAPSULE User Guide


Note:

You do not need to think about adjusting the mic positions if you do not want to! When you load any

instrument into Kontakt, the Tree will be active, which is perfect for most applications.

Noise (select instruments)

The playing noises made by instruments add a lot of realism to a sampled performance. This is why most

instruments feature sampled playing noises which can be added to taste. These appear as an extra mic

position in the mixer and are extensively controllable. You can even make them independent from regular

velocity layer switching (see Settings View).

M e t r o p o l i s - A r k I

The Electric Guitar and Bass in Metropolis Ark I have a number of non-standard microphone positions, which

are detailed in the Electric Guitar and Bass section.S o l o i s t s S e r i e s

Berlin Woodwinds EXP B and C - Soloists as well as Nocturne Violin feature two different Close positions

which can be reverberated with the included Teldex IR.

40


CAPSULE User Guide

10.3.3 Settings View

The settings view provides a place to edit settings unique to the loaded patch (in the cast of Single

Articulation patches) or settings that apply to all articulations loaded in a Multi Articulation patch.

The following section describes the features and UI elements you will find in this view. Note that not all

articulations support all of the listed features; regular shorts or longs for example do not have tempo control.

Multi Articulation Patches have some of these settings in their Multi Slot View when editing the Instrument

Settings.

DynamicsThe dynamics area lets you select how the collections shape the dynamics when you play.

Dynam ics

Niente: If enabled, the lowest dynamic setting (usually CC1 at 0 or key velocity at 0) will cause the

instrument to be completely silent. Use this setting when using your instruments with a breath or wind

controller.

Soft Low Layer : If checked, the lowest dynamic layer will first be increased in volume when controlling

dynamics and only later the next layer will begin to fade in, allowing softer low dynamics.

Ignore Noises: This option makes the playing noises (wind or bow, depending on the library) not be

affected by the Niente option. This way the noises will still be present even if playing very softly.

LayersThe Layers section lets you enable or disable specific velocity layers.

Laye rs

Volume RangeThis slider adjusts the volume scaling of the recorded velocity layers to allow for greater or narrower

dynamic range.

Volum e Range

41


CAPSULE User Guide


Cutoff FilterThis slider enables or disables the cutoff filter. This filter applies special EQ settings to the sound that enable

for example more realistic piano dynamics. The filter influences the high frequencies, but also the core

resonance. Each patch uses its own customized filter setting tailored to the use of that particular patch.

Cutof f

Attack/ReleaseThis area has three rotary encoders to intelligently adjust the ADSR curve of the samples.

Attack/Re lease

At tack: Adjusts the attack of the main instrument samples.

At tack Curve: Adjusts the attack of the main instrument samples.

Re lease: Adjusts the release time of the main instrument releases, so they get "drier" or "wetter". If release

samples are purged in the Mixer View, the release knob will adjust to the ADSR curve of the main samples.

The knob will reflect either setting.

42


CAPSULE User Guide

Round RobinsThe RR area gives you detailed control over the round robins in each patch. The options shown below are

present in all patches with multiple Round Robins. If a patch does not have recorded Round Robins you will

only see the Fake Neighbor RRs option.

RR Options

Fake Neighbor RRs: If checked, the instrument will create faked RRs by "borrowing" samples from

neighboring notes and pitching them.

Random RRs: This options randomizes the order of played RRs. If disabled, RRs will be played in sequence.

Polyphonic RRs: If enabled, only one RR is advanced in the sequence (or randomized) when playing

chords.

Poly Syl lable (Choir only): If disabled, choir patches will always use the same syllable for each key as

long as any key is still pressed. Only after all keys are released, the next syllable is used. Activate Poly

Syllable to use the next syllable for each new key.

New Note Rese ts: This option resets the RR sequence when a new pitch is played.

Rese t RR afte r ms: If no notes are played, the RR sequence resets to the start after the time in milliseconds

entered here.

RR LayersThe RR Layers area features one checkbox for every available recorded RR. You can enable and disable

(and by this purge/reload from memory if used in a Single Articulation patch) specific RRs here.

If no RR Layers is visible, the patch does not have recorded Round Robins.

RR Laye rs

43


CAPSULE User Guide


10.3.4 Controller Table View

The Controller Table view is the central place to assign keys on your MIDI keyboard as well as MIDI CC

(continuous controller) messages to features of Capsule. Every parameter and feature that can be directly

influenced by the user is listed here in multiple pages.

If a particular option is not available for the current patch/articulation, it will spell out INACTIVE.

For all other options you will see a toggle switch in the top left of the controller table. If you enable the

option, the Controller Curve display will appear along with controls to set the CC and/or MIDI note.

Controlle r Table

When a controller comes in (by CC or keyswitch) its respective entry in the Controller Table will show a

small dot in front of the name.

Acti ve Controlle r

Assigning ControllersThere are several ways to assign a feature to a specific note or controller.

Auto Assign

You can directly assign any feature in Capsule by holding Alt (Windows) / Option (OSX) and clicking on the

parameter you want to assign anywhere in any view of the patches. This will immediately take you to the

respective assignment in the Controller Table view. Now just press a key on your MIDI keyboard you want

to assign (if the controller you want to assign can be assigned to a MIDI Note), or move any fader to send a

MIDI CC. Your selection will then be mapped to this feature. You can assign multiple controllers to the same

MIDI CC or Note.

Manual Assignment

Alternatively, select the feature you want to assign by using the next page/previous page buttons until you

see the function you want to assign. Click on it to select it.

Now you can

a) press "listen" to map any incoming MIDI data (note or CC). If that controller is not enabled yet, it will be

44


CAPSULE User Guide

enabled automatically once you press "listen".

b) select a CC or note by choosing it from the selection menu below the curve window. You can also set

this to "Off" to not assign a CC, but keep your presets and settings.

Note:

If you assign a MIDI Note inside the playable range of the patch or on the same key as one of the

keyswitches in a Multi Articulation patch, that note will be moved one octave so the assignments do not

clash. This behaviour cannot be overridden.

Controller CurveThe middle of the Controller Table prominently features a graphical display of the current control curve. You

can draw your desired curve in with the mouse or use the preset button to open a menu with a number of

commonly used curves.

Available ControllersThe Controller Table hosts all - that is ALL - options and settings you can adjust in any patch. Therefore the list

of available controllers is very long. To let you make best possible use out of the plethora of available

options, we have compiled a reference of all available controllers with their default values in the Controller

Table - Annotated List.

45

| Single Art iculat ion Patches |

CAPSULE User Guide


XI Single Articulation Patches

All collections have a large complement of Single Articulation patches, which form the backbone of the

collections.

Each of those patches contains a single articulation with GUI optimized and set up for this articulation.

Exceptions to this rule are the Legato patches, whose interface looks a bit different to the other patches and

which in a way contain multiple articulations (by means of the Adaptive Legato) as well as the Cluster

Builder and Runs Builder, which feature a different user interface.

All these patches use the four UI Views and all work in very much the same way. In the following sections,

you will learn about the different patches and how they are used. These descriptions also apply to the

corresponding articulations when loaded inside a Multi Articulation patch.

11.1 Standard Articulations

Performance ViewSingle Articulation patches in their Performance View contain the Main Knob for velocity layer control, as

well as other commonly used features. Below the Main Knob you will see the patch name, the version of the

collection it belongs to as well as the Capsule version.

For Berlin Strings and its expansions as well as Nocturne Violin, you will find a Con Sordino switch here

which controls the Con Sordino emulation. All Berlin Percussion Collections control the TrueDamping in this

view. Select Metropolis Patches let you control the Auto Sustain here, as well. If a patch does not support a

particular feature, its controls are not shown in this view.

Info ViewThe Info View pane at the bottom of the Performance View shows the patch name as well as the version of

this particular collection and the version of Capsule used by this collection.

When any keyswitched feature is triggered (like the Round Robin Reset, Soft Release, etc...), the InfoView

shows the triggered feature by its name.

Info Vi ew - Patch De tai ls

Info Vi ew - Keyswi tch Feature

46

| Single Art iculat ion Patches | Standard Art iculat ions

CAPSULE User Guide

Main KnobThe Main Knob is a key component of using any collection. It allows you to select one of two ways to

control the velocity of played notes:

1) Velocity (how hard you press the keys on your MIDI keyboard)

2) X-Fade (lets you control the volume via the modwheel)

Legato and sustained articulations are set to X-Fade (modwheel) by default. Portato uses X-Fade. Staccato

and Staccato Short use Velocity by default because they are much more easily playable this way. Click on

the Main Knob to toggle between these two settings. Note that some articulations are fixed to the X-Fade

mode and can not be changed.

Main Knob

You can re-assign the CC used for the X-Fade setting by Alt/Opt-Clicking on the Main Knob. This will open

the Controller Table where you can assign a new CC by moving your corresponding fader/encoder or

whatever input source you are using.

In the middle of the Main Knob, the current velocity layer is displayed. As you morph through the layers, this

value will change to reflect the active layer. If no text is visible, you are in the middle of two layers. Note

that this display represents the actual recorded samples. So if you have p / mf / f in the display, that not

only tells you that there are three actual layers per note, but also which one is currently active. This is a

huge help when creating realistic mockups because you are told by the library that “right now those violas

are playing mf”. When the display says mf, what you are hearing is the actual sound of the violas playing

mf, not just a random sample lowered or raised in volume!

If an articulation has only a single velocity layer, the Main Knob will show "Single Layer" in the lower

portion.

B e r l i n P e r u s s i o n S e r i e s

Dynamic SwitchWith percussive instruments, quite often it is useful to not crossfade between different velocity layers (thereby

having multiple samples sound at any time) but rather use the recorded dynamic layers in their correct place

and switch between them.

When Dynamic Switch is enabled, all velocity-mapped keys in the current articulation will not crossfade

between dynamic layers but rather switch between them at breakpoints. Note that this setting does not

influence X-Fade-controlled keys like for example Rolls.

47

| Single Art iculat ion Patches | Standard Art iculat ions

CAPSULE User Guide


True DampingA lot of percussive instruments have a very unique damping sound. Wherever worthwhile, these sounds

were extensively sampled for Berlin Percussion and BPC A - The Timpani. If enabled, this option will make

the instrument play True Damping samples when CC64 is not active. CC64 will let the samples ring out.

B e r l i n S e r i e s

VibratoMost Sustain patches have multiple vibrato levels. Depending on the patch, you have Romantic Vibrato,

Progressive Vibrato, Without Vibrato and Strong Vibrato. Use the vibrato toggles to switch between the

different vibrato types. By default, CC3 is assigned to the vibrato styles. You can reassign this to any CC

you wish by changing the setting in the Controller Table.

Vibrato

B e r l i n S t r i n g s S e r i e s a nd N o c t u r n e S e r i e s

Con SordinoWe integrated a sophisticated Con Sordino simulation into all strings patches from the Berlin Series as well

as Nocturne Series. The CS switch switches the con sordino effect on and off. You can assign it to any CC

in the Controller Table.

M e t r o p o l i s A r k S e r i e s

Auto SustainThe Electric Guitar and Bass patches in Metropolis Ark I allow you to keep the current note playing after

releasing the key until a new note is played with the Auto Sustain feature. If enabled, the instrument will

become monophonic and any note will continue to sound after the key is released until either a new note is

played, the same note is retriggered or the sound is stopped with the CC or MIDI Note assigned to Stop

Key in the Controller Table.

Auto Sustai n

48

| Single Art iculat ion Patches | Sustains and Legato

CAPSULE User Guide

11.2 Sustains and Legato

Most collections have true legato (interval sampling) for all sections and solo instruments. To achieve the

highest level of realism and detail, we have recorded every interval up to an octave. That means you will

hear the natural transitions from one note to another. Every true legato patch is sampled with three dynamic

crossfade layers. Capsule uses an Adaptive Legato technology. While you play, the instrument analyses

your playing style and adjusts the transitions automatically.

True LegatoThe True Legato patches adjust to your playing by automatically shaping transitions. The process is fully

automatic and there are no special controls.

B e r l i n S t r i n g s M a i n a nd N o c t u r n e S e r i e s

Adaptive Legato ViewThe Adaptive Legato in Berlin Strings and the Nocturne Series will react to your playing and choose the

correct style automatically. You can see which style is currently used in the Style view to the left of the Main

Knob. Use the solo buttons to the left of the style panels to force the script to use this particular style.

Adapti ve Legato

You can solo a particular Legato style by clicking on its “S” icon. This will make the instrument play this style

only.

In addition, if you click on the name of the Legato style as opposed to clicking on the “S” icon, this style will

be soloed, too, but also the other styles will be purged from memory.

Nocturne Violin extends the legato concept to feature four unique speed zones for each of its four sustain

types. Depending on your playing speed, different transition lengths will be triggered, namely 1/2 bar, 1/4

bar and 1/8 bar legato. Very fast playing triggers a special Runs Legato.

Velocity- triggered Legato ExpressionA lot of long notes patches have multiple expressions recorded which are triggered by keyboard velocity.

Berlin Strings triggers Soft Attacks at low velocity and Portamento at high velocity. The middle range triggers

regular sustain transitions according to the current speed zone.

Nocturne Violin triggers Espressivo at low velocity, Fingered in the middle and Portamento at high velocity.

The lowest and highest velocity will play a swell.

49


CAPSULE User Guide


N o c t u r n e S e r i e s

Alternative TransitionNocturne Violin features alternative transitions that can be triggered instead of the regular transitions. This

feature is controlled by a CC assignable in the Controller Table. When the CC is engaged, Nocturne

Violin will use Détaché transitions.

VibratoWherever it makes sense, legato instruments feature up to three (four in Nocturne Violin) vibrato styles. You

can see which vibrato style is active by looking at the interface. The highlighted button shows the currently

selected style.

By default, CC3 switches between the vibrato types. You can reassign this to any CC you wish by

changing the setting in the Controller Table. Make sure to not use any CC already in use.

Vibrato


Woodwind Soloists Adaptive LegatoBWW EXP B/C feature a special version of the adaptive legato script. While you play, the instrument

analyses your playing style and adjusts the transitions automatically. This allows for very expressive playing

at any tempo. With the exception of Flute and Alto Flute, all legato patches feature two distinct legato

styles:

- Slur red Legato, where all notes are connected.

- Re - tongued Legato, where the note is played anew after the transition, emphasizing it. This

style allows you to play re-tongued legato passages without time-consuming work in the piano roll.

You can switch between the two styles in the GUI. Go to the Controller Table to assign a controller to

select the legato styles.

The Bass Flute and Bass Clarinet feature no vibrato and vibrato legato and sustains.

50


CAPSULE User Guide

Breath NoiseFor added realism, you can add a breath noise while playing. This function can be assigned to a CC or

Midi Note in the Controller Table on the Performance page.

Tip

Sing the phrase you are about to play - and when you need to breathe, so probably does the

instrumentalist. This is the right place to insert some breath noise.

Impor tant : When playing a slow passage followed by some faster notes, sometimes the slow transition of

the last slow note will be cut off. This is because the script is not able to look into the future, so it has no

way of knowing beforehand what the user is going to play next. You can easily manually work around this

issue by manually moving the first note forward slightly in the piano roll/key editor of your sequencer.

While the script can not look into the future - you can! So we have inserted a keyswitch at Bb-1 which will

enable a special Automatic Fast Mode as long as you hold down the keyswitch and bypass the issue this

way. Remember to use it and you should not encounter any cut notes.

Playing and Reverse/X sliderThe legato script uses keyboard velocity to determine the phrasing of a line. If you play rather soft, the notes

will have a slight decrescendo; if you play with higher velocity, the script will use samples with a slight

crescendo. This approach allowed us to record natural phrasing directly into the samples. Note that this

cresc/decresc effect is very subtle - you won‘t hear big chances in dynamics.

The cresc/decresc switching is also available in the sustain patches.

An important part of playing BWW EXP B/C instruments expressively is using variations in dynamics. This

done by moving the modwheel (CC1). Coupled with the phrasing control described before and the

adaptive legato script, you can play BWW EXP B/C very expressively.

In the right of the interface is a slider labeled X-REVERSE. This allows you to alter the way the script reacts to

your playing: By default, low velocities result in a decresc phrasing and vice versa. Enable the slider and

51


CAPSULE User Guide


the script will react in the opposite way to suit your playing style. The velocity of the first note in a sequence

will also be treated as usual (i.e. low velocity = decresc), but any following note with the opposite setting

(i.e. cresc in this case).

52

| Single Art iculat ion Patches | Singles & Rolls

CAPSULE User Guide

11.3 Singles & Rolls

B e r l i n P e r u s s i o n S e r i e s

Berlin Percussion features a unique "Singles & Rolls" patch type. This patch combines single hits with

dynamically playable rolls.

In addition, most instruments also have recorded Dynamics, which reside in their own Dynamics patch. These

two patches are seperated for technical reasons, but can work together on the same MIDI channel.

Sample MappingThe Singles & Rolls and Dynamics patches all are mapped as uniformly as possible. Some instruments for

example do not provide dedicated samples for left and right hand playing, but if they do, the mapping will

be the same for every instruments.

All instruments of the same family (snare drums, bass drums, ...) are sampled and mapped with the same

layout which makes it possible to use the same MIDI data for multiple patches or to layer instruments.

Also the Singles & Rolls patches and the Percussion Dynamics patches are mapped in such a way that their

playable areas do not overlap. This means that you can load these two patches on one MIDI channel per

instrument and do not need to use two channels/tracks for one instrument.

Singles and RollsIn these patches, the "Singles" always react to keyboard velocity, while the "Rolls" react to the XFade CC

(CC1 Modwheel by default).

In the Kontakt keyboard, which can be toggled with the "Keyb" button in Kontakt's toolbar, all keys with

velocity-controlled samples are shown in blue, all XFade-controlled samples appear yellow.

Single s & Rolls Key Colours

Depending on the instrument not all keys my be used, but if the instrument has a specific articulation it will

always be on the same key.

The general mapping for Singles and Rolls Patches is as follows:

Key Name

below C2 Special Articulations (different mallets...)C2 Single Hit LeftD2 Single Hit RightE2 RimshotF2 Muted Hit LeftG2 Muted Hit RightA2 RicochetC3 Roll NormalD3 Roll with Accented ReleaseE3 Roll Double Stroke

53

| Single Art iculat ion Patches | Singles & Rolls

CAPSULE User Guide


Key Name

F3 Roll Double Stroke with Accented ReleaseG3 Sforzando/FortepianoC4 Double UpbeatC#4 Triple UpbeatD4 Quadruple Upbeat

DynamicsMost instruments in Berlin Percussion feature recorded dynamics. Similarly to the Singles and Rolls these are

mapped uniformly across all instruments to make it possible to experiment with different combinations, etc...

The general mapping for Dynamics Patches is as follows:

Key Name

from F4 Crescendos

from B4 Decrescendos

from E5 Crescendos/Descrescendos

54

| Single Art iculat ion Patches | Trills Orchestrator

CAPSULE User Guide

11.4 Trills Orchestrator

One of the most powerful tools in our collections is the ergonomically playable Trills Orchestrator. Patches

which use the Trills Orchestrator functionality have "TO" in their file name. We call the TO "ergonomic"

because you do not need any keyswitches to change between different trills, you just play them. Depending

on the instrument, you can play looped semitone and wholetone trills as well as identical sfz trills. Our

custom script manages the biggest collection of different trills and interval tremolos ever created and it is a

huge time-saver! Choose the interval to be trilled between by just pressing the starting and final notes.

Notation ViewAt the left of the GUI you see a helpful tool for your orchestrations: The notation view, a huge timesaver if

you want to notate trills in your written scores. It shows you every trill you are playing, regardless of the

number of notes you play.

Notati on Vi ew

How to play the Tri lls OrchestratorWe were looking for a way to make this instrument easily playable. After testing a few options we

discovered “rolling up” the chords is the best and easiest way to play trills without using keyswitches. All

you have to do is press a starting note and then the final note of your trill and the Trills Orchestrator will trill

between these notes. The Orchestrator allows you to trill between more than just two notes; flickering

chords are possible and easy to play. Just roll off the whole chord and the Trills Orchestrator will trill

between the notes you are playing. You can trill between up to 20 notes, the problem is that you will not

have enough fingers to do that ;-)

Note

While you are playing, the delay between the start note and the end note can be very short, you can

“roll up” the chords very quickly. But it is important to always roll them up; pressing two or more keys at

exactly the same time will not work.

The Mode Change FunctionEvery Trills Orchestrator can run in two different modes which is selected by a toggle switch:

End Tone = Star t Tone

In this mode every final note is automatically a new starting note if you press more than two keys. For

example: When you trill between C and D, the C is your starting note and the D is your final note. Now

you can use the D as another starting note. Just press any other key, an E for example. Now the

Orchestrator trills between C and D and also between D and E. So the D is automatically a final note as

well as a starting note.

55


CAPSULE User Guide


Star t Tone = Always New

In contrast to the other mode, in this mode you cannot trill between odd numbers of notes like 3, 5 or 7 for

example. Why? Because you cannot use the final note of a trill as a new starting note.With the example

before: You trill between C and D. If you press E now, the E is your new starting note. The Orchestrator

then waits for an additional note. Now you need to press one more note, lets say an F. The Orchestrator

then trills between C and D, and between E and F, but not between D and E.

Note

Just find out which mode is good for your current needs and choose accordingly: If you want to play

flickering chords for example, choose the End Tone = Start Tone mode. If you want to play two different

trills, each between two notes, you should choose the Start Tone = Always New mode.

Tip

You can blend the sfz trills perfectly with the regular trills to achieve a sharp attack at the beginning of a

long sustained trill.

Measured Tri llsMeasured Trills patches allow you to play trills synced to your host tempo. These patches work the same

way as all other TO patches, but they have additional tempo options in their Performance View. They have

been recorded at multiple tempos and are played in perfect sync to your host tempo by the script. By

default, the script conforms to the host tempo. If you want to adjust the tempo yourself, set the tempo switch

to manual and use the BPM slider to set the tempo. Please note that the samples are time-stretched using

Kontakt's TimeMachine. With extreme tempo settings you might hear artifacts cause by the time stretching

algorithm. If this happens, try half or double tempo trills.

Tem po Options

56


CAPSULE User Guide


Woodwind SoloistsThe Solo Oboe, Solo English Horn and Solo Clarinet have a full complement of semitone and whole tone

trills, both espressivo and with short attack.

If you play with a soft velocity, accelerating espressivo trills will be played. Play harder and regular short

attack trills will sound.

The Solo Flute, Solo Alto Flute, Solo Clarinet and Solo Bass Clarinet have recorded Grace Note sustains.

Play the grace note first (for example G3), keep it pressed and play a semitone or whole tone below (F#3

or F3, in this case) - much in the same way as the Trills Orchestrator script from BWW.

The Solo Oboe and Solo English Horn have been recorded with half step and whole step changing notes,

both up and down. First play the root note and hold it. Then play the changing note either a semitone or a

whole tone below or above. In the TimeMachine-enabled patches use the Speed encoder to adjust the

speed of the changing note.

57

| Single Art iculat ion Patches | Doubles/Triples

CAPSULE User Guide


11.5 Doubles/Triples

B e r l i n S e r i e s

Berlin Woodwinds has recorded double tongue and triple tongue samples for most instruments. In a

painstaking process we recorded real double and triple tongue notes and made them react to your playing

speed.

Berlin Strings extends this concept to Double and Triple Bowings, which work the same way.

DoublesPlay a note and the first note sounds. Release the key and the second note is played. Basically you only

need to play every second note, with the gap between notes determined by how long you keep the key

pressed.

TriplesPlaying tripled notes requires a bit of practice, but it is easily worth it: Press a key and the first note sounds.

The second note sounds when you release the key and Capsule will automatically sound the third note after

an equal period of time. This is very useful for playing triple-tongued triplets or short triple bowings in the

strings!

Tempo DetectionAll Doubles/Triples patches use two distinct sets of samples for slow and fast playing. Depending on your

playing speed, the script will automatically switch between these two sample sets.

11.6 Repetitions

Many collections feature recorded 16th note and triplets repetitions. These have been recorded at multiple

tempos and are played in perfect sync to your host tempo by the script. By default, the script conforms to the

host tempo. If you want to adjust the tempo yourself, set the tempo switch to manual (see Tempo Options)

and use the BPM slider to set the tempo.

Please note that the samples are time-stretched using Kontakt‘s TimeMachine. With extreme tempo settings

you might hear artefacts cause by the time stretching algorithm. If this happens, try half or double tempo

repetitions.

11.7 Runs Transitions

The Runs Transitions patches (also called Playable Runs, because that is essentially what these patches allow

you to do) are based on the same technology that powers legato instruments and use very fast legato

transitions between notes. They are available for both solo instruments and ensembles. We have sampled

transitions between notes up to the interval of a fifth, so you can play runs leaving gaps between notes if you

want. Now it is finally possible to play completely unique runs on a MIDI keyboard and hear the “glue” in

between individual notes. Just play your run and Capsule will do the rest!

58

| Single Art iculat ion Patches | Runs Builder

CAPSULE User Guide

11.8 Runs Builder

B e r l i n W o o d w i nd s M a i n

The Runs Builder, which is available for the Clarinet Ensemble (a3) and the Flute Ensemble in octaves (a2

+Flute 8va or Piccolo in the higher register) in BWW, allows you to create custom runs by combining

several groups of notes. Within these groups, which are all real recorded samples, you can hear the natural

connection between notes - the “glue”, which brings these real recorded short phrases combined as a

bigger run into your sequences.

Playing the Runs BuilderFirst you need to select the key by pressing the corresponding keyswitches. Then you select a slot via

keyswitch. If you have switched Auto Tempo off, you need to select a tempo mode with the Tempo Mode

slider or MIDI CC. All contents and settings of the slots will be saved with your sequencer project file or in

any Kontakt instrument/multi you save.

Slots & ArticulationsWhen you load the Runs Builder into your Kontakt instance, all slots will be empty and basically nothing will

be loaded into memory. Now you can click on any empty slot to select it. This slot is now activated, easily

visible by looking at its highlighted border. To fill the slot with an articulation, just click on any of the

available articulations in the lower left of the interface. The articulation will be loaded into RAM and its

picture is displayed in the slot. When a slot is activated (white border), you can play the articulation

currently loaded in that slot on your keyboard. You can change the slot in real time using keyswitches. Every

slot has its own keyswitch. The keyswitch controlling a slot is displayed above the corresponding slot. To

clear a slot, select it and press the articulation button again. There also is a Clear All button next to the

articulation buttons.

59

| Single Art iculat ion Patches | Runs Builder

CAPSULE User Guide


Runs B ui lde r Slots

Tempo Mode SliderYou will find a Tempo Mode slider underneath every slot. This slider is controllable via any assignable MIDI

CC (just right click) and lets you adjust playback of the samples between half tempo, double tempo and

regular tempo as well as half triplets and double triplets. The current selection is shown below the slider. As

an example, if you have a host tempo of 200bpm, a 16th run would be way too fast. Change the setting to

half tempo and the run will essentially play as an 8th run. If you have the auto tempo button switched on,

BWW will adjust this slider automatically to find the ideal solution. To control the slider manually, switch off

the auto tempo button.

Tem po Mode

KeyswitchesC0-B0 = changes the key (e.g. F Major, C Major, etc.)

C1-A1 = activates individual slots

ScaleUse the Scale slider to select the scale you would like your run to be in. You can assign a CC to this slider

by right-clicking on it.

Scale Sli de r

60

| Single Art iculat ion Patches | FX Builder

CAPSULE User Guide

11.9 FX Builder

B e r l i n B r a s s - H o r n s S F X

Berlin Brass Expansion C - Horn FX features two patches based on Orchestral Tools‘ FX Builder Engine: The

Random Staccato patch and the Cluster Builder. Both patches use a similar GUI, but differ in their usage.

Both patches are described in the following section.

Cluster Builder

B B R C - Cluste r B ui lde r

The Cluster Builder marks Orchestral Tools‘ newest approach on solving a problem that has existed every

since the advent of sampling: How to create ultra-realistic effects that adapt to what the user wants to write

without overly complicated calculations or resorting to pre-recorded loops, which lack flexibility?

Arti culati ons

The Cluster Builder, in a nutshell, gives you access to the four horns in our section. We recorded Sustains,

Bendings, Fluttertongue, Trills and Stopped Sustains for each horn. The script lets you play each horn with its

individual articulation independently from the others. So one horn can play sustained notes, while a second

horn performs a trill, a third plays bendings and the fourth horn will join in playing fluttertongue.

61


CAPSULE User Guide


In addition, you can select a target pitch for each horn individually. The target pitch determines how far the

horn is allowed to stray from the tonal center (= the key you pressed) when playing a cluster. This setting is

of course automatable as usual by assigning a CC (right-click on any target pitch box to assign one).

Targe t Pi tch

The transform feature now is where the magic happens: Move the CC assigned to the Transform knob to

morph from playing unison in the chosen articulation to playing at the target pitch. This means that with a

target pitch of 3, the instrument will sound 3 quarter tones higher when the Transform knob is set to

maximum. Values in-between will result in something somewhere in the middle (go figure!). The transition is

absolutely seamless - this way you can morph in and out of a custom cluster in exactly the tempo you need.

By default, all four horns will play when you press a key. Pressing multiple keys results in an increased

number of instruments sounding.

Auto Di v i si

To help you create clusters with realistic voice distribution and the ability to have instruments come in one

after another, we implemented a divisi feature: The Auto Divisi button distributes the notes you play to the

four horns. The first note will go to the first horn, the second to the second, and so on. When the Auto Divisi

button is enabled, a selection menu will appear where you can select the order in which the four horns are

played. So for example if you want to the third horn to play the second note you press, you can change the

order here. To reset the counter (so the next note you play will be treated as the first in sequence), press

C0.

62


CAPSULE User Guide

Cluster Random Staccato

B B R C- Cluste r Random Staccato

Random staccato notes are a powerful effect, not only for creating a general feel of uneasiness in a piece

by working against the rhythmic backbone, but also (and even more so!) by using variable pitches, adding a

(a)-tonal layer. Try using this effect subtly in pieces otherwise rooted in traditional harmony - the effect is

staggering, especially at low velocities!

The Cluster Random Staccato patch works in a similar way to the Cluster Builder. You set a target pitch for

each horn and use a pre-defined CC to transform the sound from the root note (the note you play on your

MIDI keyboard) to the maximum pitch. In addition, there is a speed dial, which controls the frequency of

random notes. Of course this parameter is automatable, too.

63

| Single Art iculat ion Patches | Drumset

CAPSULE User Guide


11.10 Drumset


Metropolis Ark I contains a drumset recorded in place at the Teldex Scoring Stage.

The instrument provides all regular mic positions and is mapped in the GM standard:

Key Name

B0 Bass Drum AlternateC1 Bass DrumD1 SnareD#1 Snare AlternateF1 Low Floor TomF#1 Closed Hi HatG1 High Floor TomA1 Low TomA#1 Open Hi HatB1 Low Mid TomC#2 Crash CymbalD#2 Ride CymbalE2 China CymbalF2 Ride BellG2 Splash Cymbal

64

| Single Art iculat ion Patches | Electric Guitar and Bass

CAPSULE User Guide

11.11 Electric Guitar and Bass


Metropolis Ark I features two Electric Guitars, a Guitar Ensemble created from these two guitars as well as

an Electric Bass. These have all been recorded at the Teldex Scoring Stage and come with a few special

Mic Positions.

These instruments also have some special FX samples mapped, which are explained in the following

sections.

These instruments support the Auto Sustain feature, which is described in the Standard Articulations section.

Sample MappingThe Electric Guitar and Electric Bass patches feature a number of special FX below and above the playable

range for Single Strokes or Powerchords. The playable tonal range is marked on Kontakt's on-screen

keyboard with blue keys. All FX keys are coloured yellow.

Key Name

G0 - G#0 Dead Note

C4 - D4/D#4 Slides Up Down (D#4 Bass only)

E4 - F#4/G4 Slides Down (G4 Bass only)

G#4 - B4 Slides Up

C5 - D#5 Slides Plec (Guitars only)

65


CAPSULE User Guide


11.11.1 Guitars

The Guitar (L) and Guitar (R) contain Electric Guitar articulations. These two guitars are intended to be

double-tracked with one panned left, and the other panned right. Here they are present as individual

patches to facilitate finding your own sound.

Microphone PositionsThe Guitars large have the same Mic Positions as all other Metropolis Ark I patches; see Mixer View for

details.

In additional, they feature a DI position which provides the Direct Input unaltered. The DI position is off by

default in the Guitars; switch it on and route it to its own output to use your own effects plugins on the signal.

11.11.2 Guitar Ensemble

The Guitar Ensemble pre-mixes and pre-pans the two Guitars included in Metropolis Ark I and has factory

settings like a typical double-tracked guitar setup.

All patches are playable right out of the box and are set up for the instant "action guitar" sound.

Microphone PositionsThe Guitar Ensemble comes with its own set of special Mic Positions which are pre-mixed already for a

great sound.

L/R-CloseThe Left or Right Close position provides the Close signal for the left/right Guitar. Adjust this position for

more or less direct signal.

L/R-RoomThe Left or Right Room position controls the amount of reverberated Guitar sound. Adjust this position for

more or less ambience.

Amp 1 / Amp 2The Amp 1 and Amp 2 positions control the two Electric Bass amp positions. These positions are identical to

the respective Electric Bass positions.

11.11.3 Electric Bass

The Electric Bass features two special amp setups, and is great to add precise bottom end to any track

Microphone PositionsThe Electric Bass provides four mic positions to shape the sound.

DIThe DI position provides the DI box input unaltered. Route this position to its own output to use your own

effects plugins on the signal.

66


CAPSULE User Guide

ODThe OD position lets you control the amount of overdriven signal.

Amp 1The Amp 1 position provides an Ampeg SVT 4-Pro bass amp setup.

Amp 2The Amp 2 position provides a special SansAmp setup that has been post-processed.

67

| Single Art iculat ion Patches | Time Machine-enabled Patches

CAPSULE User Guide


11.12 Time Machine-enabled Patches

Most patches in most collections are also available as special Time Machine-enabled patches. You can

recognize these patches by their name, which contains “TM”.

Time Machine-enabled patches work the same way as their regular counterparts, but have one additional UI

element. The TM Slider allows you to adjust the length of the samples in real time. This lets you make

staccatos sharper or shape a marcato to your desired length. The release samples are unaffected by these

changes, so the natural ambience of the room is preserved.

It is advisable to use the TM slider within sensible limits. The extreme ends of the spectrum will yield results

that are interesting for sound design, but have little in common with the original instrument. Less is more.

Note that there are no TM patches for Legato and Playable Glissandos for technical reasons.

11.13 Key Velocity Patches

B e r l i n P e r u s s i o n M a i n

Most non-melodic Berlin Series percussion instruments are mapped the conventional way with either key

velocity or an assignable CC controlling the velocity layers.

For some Unpitched Metals an alternative controlling scheme is also provided. These instruments have an

extra folder inside their instruments folder called "Key Velocity".

Inside are patches with the suffix "KV", which stands for Key Velocity.

Key Velocity patches have their velocity layers spread over keys on the keyboard. This allows for playing

smooth accentuated hits without having to think about or edit key velocity afterwards producing a consistent

velocity.

These patches are otherwise identical in the sample content to their regular counterparts. Use whichever

mapping scheme works best for you.

68

| Mult i Art iculat ion Patches |

CAPSULE User Guide

XII Multi Articulation Patches

All collections in addition to the Single Articulation Patches features a large number of groundbreaking Multi

Articulation Patches.

Rather than just providing access to multiple articulations in one patch (they do that, too, of course), these

patches allow you to combine different articulations and morph between them freely.

You can also apply legato transitions to every “long” articulation. So if you were so inclined, here‘s your

chance for Legato Trills.

Some special articulations like Scale Runs are combined in one Multi Patch, for example Scale Runs or

Dynamics. There are no corresponding Single Articulation patches for these.

Depending on the collection, there may be individual patches for Longs, Shorts, etc., or all articulations may

be set up in a single patch. This mostly depends on the number of total articulations.

This section of the User Guide describes the UI and usage of the Multi Articulation patches. The individual

articulations loaded inside a Multi Articulation patch work the same way as their Single Articulations

counterparts. So please refer to the respective sections of the User Guide to learn more about these

articulations. The notable difference is the legato behaviour: Since the Multi Articulation Patches allow you

to use legato transitions or behaviour (scripted legato) with any articulation, there are no 1:1 counterparts to

the regular Single Articulation legato patches.

The following sections list the used patch abbreviations for quick reference.

12.1 Multi Slot View

The Slot View of Multi Articulation Patches looks vastly different to its Performance View counterpart for

Single Articulation patches.

Each Multi Articulation Patch contains 12 slots for hosting individual articulations.

Empty slots have . . . as their slot name. Occupied slots show an abbreviation for the articulation loaded in

them with an icon for that articulation displayed beneath. The icon in a graphical way tells you a bit about

how the articulation sounds.

A slur left of the slot name (like in the 1st slot above) means that legato transitions are active for that slot.

69

| Mult i Art iculat ion Patches | Mult i Slot View

CAPSULE User Guide


Choosing ArticulationsIf you click on a slot, a menu will open that allows you to select an articulation. Use the scroll arrows to

cycle through the different articulation pages.

Click X or click the articulation name again to close the menu. The menu will also close when selecting an

articulation.

Arti culati on Se lector

Legato and SettingsTo the side of the menu there the legato button (displaying a slur) and the settings button (with a wrench).

Click the slur icon (it will light up if active) to switch on the legato mode.

You can configure which transitions to use as well as other options in the settings page by clicking the

settings icon. These options largely are the same found in their Single Articulation counterparts' Performance

View.

L egato Style s

You can select up to three different legato zones accessed by playing speed. If you only need one or two

types of legato, just set two or even three slots to the same legato type.

The other settings displayed on this page correspond to the settings of that particular Single Articulation in

the Settings View.

Note

The setting made on this page apply only to the selected articulation. Global settings are set in the

Settings View .

N o c t u r n e S e r i e s

Nocturne Violin features alternative transitions, which are triggered by a controller configurable in the

Controller Table. If the controller is engaged, the slur graphic above the slot will turn orange.

If a legato style features an alternative transitions, this is marked by an asterisk (*) next to the transition

name in the legato slots.

70


CAPSULE User Guide

Selecting ArticulationsThere are multiple ways of selecting an articulation:

1) Click on the icon displayed below the slot name to select an articulation.

KS Mono/Poly

2) If the KS Mono/KS Poly switch is set to Mono, you can use freely assignable

keyswitches to select any of the 12 slots. Use the <KS> buttons in the lower left of the

patch to move the keyswitches. In this mode you can switch articulations any time and

the newly selected articulation will become active with the next played note even if notes are still held in

polyphonic playing.<

If both the original slot as well as the slot switched to has legato enabled, a legato transition will be played

connecting the slots enabling fluent changes between legato articulations. If the slot switched to does not

have legato enabled, the original slot will still be connected and afterwards muted, but without a further

transition after the initial connection. This also applies to Guitar patches using Auto Sustain.

TipCtrl/Cmd-Click on the <KS> buttons to move the keyswitches directly adjacent to the lowest playable

note of the patch. On very low instruments the keyswitches will be moved adjacent to the top of the

range.

Shift-Click on the <KS> buttons to move the start of the keyswitches to C0. Very low instruments (like

BST Basses) will have their keyswitches start at C6.

3) If the KS Mono/KS Poly switch is set to Poly, the full power of Capsule is unleashed with Poly

Keyswitching and Morphing.

AttentionThe playable range of an articulation is displayed via coloured keys in Kontakt‘s on-screen keyboard. If

monophonic keyswitching is active, the displayed range is the range of the currently selected slot. If any

polyphonic switching/morphing mode is active, the displayed range is the combined range of all slots.

In this case single articulations (for example flageolet) may have silent notes.

71


CAPSULE User Guide


Polyphonic Keyswitching/MorphingCapsule introduces the ability to have more than one keyswitch (or, in this case, slot) enabled at the same

time. You can select up to four slots at a time by pressing multiple keyswitches at the same time. The newly

selected slot(s) will become active for all new notes as soon as all already sounding notes are released.

Already sounding notes are not affected and will also not be cut off when selecting other keyswitches.

KS Options

Capsule not only allows switching between multiple selected slots via different means, but also morphing

freely between them. There are two modes for switching and two for morphing, selected by either clicking

the respective button or by a CC defined in the Controller Table:

CC Switch

With this option selected, the CC assigned to X Fade/Switch in the Controller Table will switch between

the selected slots. For this, the range of the CC is divided by the number of selected keyswitches, for

example 128/4 if four slots are selected.

Ve l Switch

This option works in a similar way to CC Switch, but instead of a MIDI CC, the slots will be switched by

key velocity. Again the number of selected keyswitches determines the value range in which each slot will

react.

CC XFade

Instead of switching through the selected slots, this option will morph between them using the X Fade/Switch

CC. The number of selected keyswitches determines the value range in which each slot will react.

Note

When using the CC Switch or CC XFade modes, the lower portion of the Active Slots display will show

the current state of the respective CC by highlighting that section of the display.

Acti ve Slots

CC XFade 2D

The 2D XFade allows you to morph freely between up to four slots using equal power crossfading. Each

corner of the graphic displayed in the UI represents one of the slots soloed. Use the CCs assigned to X

Fade/Switch and Y Fade (2D) in the Controller Table to move between the slots.

72


CAPSULE User Guide

2D XFade

In any of the modes you can change the selected slots at any time simply by pressing different keyswitches.

Switching to Locked ViewCapsule's Multi Articulation patches are intended for creating your custom switching and layering

solutions as well as for building unique Legato articulations. To help you preserve your custom

patches, Multi Artic patches feature a Locked View that freezes the current instrument settings.

Click the Lock icon below the keyswitch controls to enter or leave Locked View.

73

| Mult i Art iculat ion Patches | Mult i Locked View

CAPSULE User Guide


12.2 Multi Locked View

The Multi Articulation Patches provide vast control over combining and blending articulations as well as the

ability to create custom legato patches with any long note articulation.

The Locked View introduces a way to preserve custom-created patches using up to four articulations.

Click the Lock icon below the keyswitch controls to enter or leave Locked View.

A locked patch is frozen with its settings (active articulations, KS mode, velocity layers, RRs, etc...) as they

were set at the point of entering Locked View. When locked, all samples not currently used are purged from

memory.

As long as Locked View is active, not articulations can be changed and the instrument is immune to any

settings changes via CC, as well.

InterfaceWhen the Locked View is shown, the Multi Articulation UI changes to an interface more alike to Single

Articulation Patches:

The Main Knob in the middle of the interface shows the current velocity or CC assigned to layer switching.

Note that Velocity/X-Fade control are set per patch in the patch options in the Slot View, not by clicking on

the Main Knob like in Single Articulation patches.

The right of the interface shows the enabled articulations.

The Locked View essentially serves to enable creating and storing custom-built articulation patches that

behave similar to Adaptive Single Articulation patches like the Legato patches.

74

| Mult i Art iculat ion Patches | Longs

CAPSULE User Guide

12.3 Longs

Each articulation is represented in Multi Articulation patches by an abbreviated articulation name in its slot.

Here are all abbreviations used for all "Longs" articulations:

SUS Imm Without Vibr SUSIW

SUS Imm Romantic Vibr SUSIR

SUS Imm Strong Vibr SUSIS

SUS Soft Without Vibr SUSSW

SUS Soft Romantic Vibr SUSSR

SUS Acc SUSA

SUS Blurred SUSB

SUS Imm Flageolet FLSUS

SUS Imm Sul Ponticello SUSIR

SUS Imm Sul Tasto SUSIR

SUS Soft Sul Tasto SUSSR

Tremolo TREM

Tremolo Flageolet TREM

Tremolo Sul Ponticello TREM

Tremolo Sul Tasto TREM

Tremolo Acc TREMA

Tremolo Acc Sul Ponticello TREMA

Trills+1 TR+1

Trills+2 TR+2

Trills+3 TR+3

Trills+4 TR+4

Trills+5 TR+5

Trills+6 TR+6

Trills+7 TR+7

Trills Acc +1 TRA+1

Trills Acc +2 TRA+2

Trills Acc +3 TRA+3

Trills Acc +4 TRA+4

Trills Acc +5 TRA+5

Trills Acc +6 TRA+6

Trills Acc +7 TRA+7

Measured Trills +1 MTR+1







Pizzicato Tremolo PZTRM

Espr Short ESPRS

Espr Long ESPRL

75

| Mult i Art iculat ion Patches | Shorts

CAPSULE User Guide


12.4 Shorts


Here are all abbreviations used for all "Shorts" articulations:

Portato Short PORTS

Portato Sul Tasto Short PORTS

Portato Long PORTL

Portato Sul Tasto Long PORTL

Portato Blurred PORTB

Repetitions 16th REP16

Repetitions Triplets REP/3

Staccato STAC

Staccato Sul Ponticello STAC

Staccato Flageolet STAC

Staccato Short STACS

Staccato Bold FFF STACF

Staccato Blurred STACB

Spiccato SPIC

Spiccato Blurred SPICB

Spiccatissimo SPICS

Doubles DBLS

Triples TRPLS

Sforzando SFZ

Grace Notes +1 GRC+1

Grace Notes +2 GRC+2

Grace Notes -1 GRC-1

Grace Notes -2 GRC-2

Changing Notes +1 GRC+1

Changing Notes +2 GRC+2

Changing Notes -1 GRC-1

Changing Notes -2 GRC-2

Trems Sfz TRSFZ

Trills Sfz +1 SFZ+1

Trills Sfz +2 SFZ+2

Trills Short +1 TRS+1

Trills Short +2 TRS+2

Trems Hook TRMHK

Trills Hook +1 HK+1

Trills Hook +2 HK+2

Pizzicato PZ

Pizzicato Perc PZPC

Marcato MARC

Martele FFF MART

Col Legno COLGN

76

| Mult i Art iculat ion Patches | Dynamics

CAPSULE User Guide

12.5 Dynamics

The dynamics patch provides you with a vast complement of pre-recorded dynamic notes. You can select

any combination of different crescendo and decrescendo dynamics by loading them into the 12 slots of the

multi patch.


Here are all abbreviations used for all available dynamics:

p-ff-p 2LL <<>>

p-ff-p LL < >

p-ff-p L|L <|>

ff-p L ff>

mf-p L mf>

p-f-p L < >

p-ff L <ff

p-mf L <mf

ff-p S ff/>

mf-p S mf/>

p-ff S /<ff

p-mf S /<mf

77

| Mult i Art iculat ion Patches | Scale Runs

CAPSULE User Guide


12.6 Scale Runs

All collections put a strong emphasis on idiomatic writing for all sections. No one will argue that runs are an

important part of what a woodwind or string section tends to do, so we felt we really needed to nail that

bit. For this reason, you get a large complement of runs to choose from in the Scale Runs patches and you

can play your own runs with the help of the Runs Transitions patch. Berlin Woodwinds also has our critically-

acclaimed Runs Builder. Orchestral String Runs was our first commercial library and we tried out many things

to come up with the best sounding and most flexible solution. With the experience gained in creating OSR

and OSR2 and the feedback received from our customers, who sent us e-mails with ideas and suggestions,

we improved the algorithms for the runs patches dramatically over the course of many updates. Now we

can all use the best of it in these collections.

The Scale Runs patches contain full recorded runs in all major keys (minor by just playing the corresponding

major run on a different start tone). All runs have been recorded at different speeds and are tempo-synced to

your host. C0 to B0 on your MIDI keyboard act as keyswitches to switch between keys. The tempo mode

slider with the auto tempo button is controllable via an assignable MIDI CC (via the Controller Table) and

lets you adjust playback of the samples between half tempo, double tempo and regular tempo as well as

half triplets and double triplets. The current selection is shown below the slider. As an example, if you have

a host tempo of 200bpm, a 16th run would be way too fast.

Change the setting to half tempo and the run will essentially play as an 8th run. If you have the auto tempo

button switched on, the script will adjust this slider automatically to find the ideal solution. To control the

slider manually, switch off the auto tempo button.

All Scale Runs use NI’s Time Machine Pro to sync to your host tempo, regardless of the mic position(s) used.

This means unrivalled fidelity and complete freedom in choosing your tempo.


Here are all abbreviations used for all Scale Runs:

C Maj Up C-UP

C# Maj Up C#-UP

D Maj Up D-UP

D# Maj Up D#-UP

E Maj Up E-UP

F Maj Up F-UP

F# Maj Up F#-UP

G Maj Up G-UP

G# Maj Up G#-UP

A Maj Up A-UP

A# Maj Up A#-UP

B Maj Up B-UP

C Maj Down C-DN

C# Maj Down C#-DN

D Maj Down D-DN

D# Maj Down D#-DN

E Maj Down E-DN

78

| Mult i Art iculat ion Patches | Scale Runs

CAPSULE User Guide

F Maj Down F-DN

F# Maj Down F#-DN

G Maj Down G-DN

G# Maj Down G#-DN

A Maj Down A-DN

A# Maj Down A#-DN

B Maj Down B-DN

79

| Gett ing Help |

CAPSULE User Guide


XIII Getting Help

We hope this Guide showed you how to unleash the potential of all collections.

If you have any additional questions or need help installing collections, we have a number of options for you

to get help as fast as possible.

1. The OT HelpdeskBefore sending us an email, please first refer to the OT Helpdesk at helpdesk.orchestraltools.com, which

has answers to the most common user questions.

There you will also find detailed Folder Listings to verify that all your collections are correctly installed. The

Helpdesk covers a lot of topics and chances are high you will an answer there in a fraction of the time it

would take you to contact us.

Here are a few important topics:

Downloading the newest Installation Guide and User Guide

Everything about download and installation

Folder Structure listings of all Orchestral Tools collections

2. Direct eMail supportIf your question is not answered on the Helpdesk, you can reach OT Support by email to

[email protected]

Just send us an email, describe your issue and we will get back to you usually the same working day. OT

Support is staffed every working day 09:00 to 16:00. Orchestral Tools is based in Germany, so if we do

not reply soon, it is most likely night over here! You can also send us a support ticket via the Helpdesk, but

regular email will be just as fast. No ticket IDs, no registration for an account, nothing. Just help when you

need it.

Please include as much information as possible, especially your system specs, sequencer version and

Kontakt version. Screenshots also help tremendously.

3. Personal Remote SupportIf your issue can't be resolved speedily via email or if you are completely stuck with something, send us an

email and we will be happy to assist you via remote support. This is done with a small and secure

application that lets us see what you see on your screen and has proven to be a cure for even the nastiest

tech issues.

http://helpdesk.orchestraltools.com

http://helpdesk.orchestraltools.com/kb/faq.php?cid=8





















mailto:[email protected]

80

| Appendices |

CAPSULE User Guide

XIV Appendices

This section contains several appendices like a list of all controllers available in the Controller Table, how to

configure Kontakt's outputs, etc...

14.1 Controller Table - Annotated List

The Controller Table view allows you to map MIDI CCs and/or keyswitches to controller features in

Capsule. This section contains a list of all controllers along with short descriptions of what they do and what

you can assign them to.

All controllers have four bits of information attached to them:

Used by: Tells you which collection(s) use this controller; for example all Solo Berlin Woodwinds, or all

Berlin Strings.

Assignable to: Controllers can be assigned to a MIDI CC, a MIDI note, or both.

Default Value: Some controls have a default value set by Orchestral Tools. If they do, this will tell you what

it is.

Description: Provides a short description what the controller does.

Dynamics

Dynamic XFade

Used by: All "Long" articulations; but can be set and used for "Shorts", too.

Assignable to: MIDI CC

Default Value: CC1 (Modwheel)

Description: The assigned CC controls the dynamics of the instruments by morphing through the enabled

velocity layers. This is the default control scheme for "Long" articulations, though you can also enable and

use it for "Shorts", too.

XFade/Velocity Mode

Used by: All Single Articulation patches in all collections.


Default Value: CC14

Description: The assigned CC switches between dynamic control via the CC set at Dynamic XFade or by

keyboard velocity.

Inst rument Vol .1

Used by: All patches in all collections.


Default Value: CC7 (Volume)

Description: The assigned CC along with its Instrument Vol.2 counterpart controls the patch volume.

81

| Appendices | Controller Table - Annotated List

CAPSULE User Guide


Ins t rument Vol .2



Default Value: CC11 (Expression)

Description: The assigned CC along with its Instrument Vol.1 counterpart controls the patch volume.

Sustain Pedal


Assignable to: MIDI CC, MIDI Note

Default Value: CC64 (Sustain Pedal)

Description: The assigned CC or MIDI Note controls the Sustain Pedal, holding pressed notes. Note the the

Berlin Engine intelligently retriggers re-pressed notes while the Sustain Pedal is held.

Soft Re lease



Default Value: CC15

Description: The assigned CC or MIDI Note performs a Soft Release of the current note(s) when enabled.

True Damping

Used by: All BPC Range articulations that support True Damping.


Default Value: Off

Description: The assigned CC switches the True Damping behaviour on or off.

Dynamic Switch

Used by: All Berlin Percussion Single Artic patches with velocity-controlled articulations.


Default Value: Off

Description: The assigned CC makes velocity-controlled keys switch between velocity layers instead of

crossfading them.

Auto Sustain

Used by: Select Metropolis Ark Series patches.


Default Value: Off

Description: The assigned CC switches the Auto Sustain behaviour on or off.

Stop Key

Used by: All patches that support Auto Sustain.


Default Value: F0

Description: The assigned CC or MIDI Note stops the currently sounding note if Auto Sustain is switched on.

82


CAPSULE User Guide

Performance

Vibrato Sl ider

Used by: All "Long" Single Articulations with multiple vibrato styles.

Assignable to: MIDI CCs

Default Value: CC3

Description: The assigned CC switches between the different vibrato styles available for the current

articulation.

Con Sordino

Used by: All Berlin Strings patches.


Default Value: CC16

Description: The assigned CC switches the Con Sordino simulation on or off.

Al te rnat ive Transit ion

Used by: All Nocturne Violin legato articulations.


Default Value: CC64

Description: The assigned CC toggles Alternative Transitions.

Fast/Slow Adjust

Used by: Doubles/Triples patches.


Default Value: Off

Description: The assigned CC switches between Slow and Fast samples.

Slur red/Slow Legato

Used by: All Berlin Strings and Berlin Woodwinds Soloists Legato Single Articulations.


Default Value: A-1

Description: The assigned CC makes the current Legato Patch use the Slurred Legato style.

Agile Legato

Used by: All Berlin Strings/Berlin Woodwinds Legato Single Articulations.


Default Value: Bb-1

Description: The assigned CC makes the current Legato Patch use the Agile Legato style.

Fast Runs

Used by: All Berlin Strings Legato Single Articulations.


Default Value: B-1

Description: The assigned CC makes the current Legato Patch use the Fast Runs Legato style.

83


CAPSULE User Guide


Retongued Legato

Used by: Selected Berlin Woodwinds Soloists Legato Single Articulations.


Default Value: CC52

Description: The assigned CC makes the current Legato Patch use the Retongued Legato style.

X Reverse

Used by: Selected Berlin Woodwinds Soloists Legato Single Articulations.


Default Value: Off

Description: The assigned CC or MIDI Note treats the velocity of the rst note in a sequence as usual (i.e.

low velocity = decresc), but any following note with the opposite setting (i.e. cresc in this case).

B reath Noise

Used by: Berlin Woodwinds Soloists Legato Single Articulations.


Default Value: B-1

Description: The assigned CC or MIDI Note plays a breath noise for added realism.

84


CAPSULE User Guide

Instrument Options

RR Rese t Key



Default Value: A-1

Description: The assigned CC or MIDI Note resets the Round Robin counter to zero.

Lock To Host

Used by: All patches using Time-Stretching in all collections.


Default Value: Off

Description: The assigned CC switches between patches following the host tempo or following a Manual

Tempo set inside the instrument.

Tempo Mode

Used by: All patches using Time-Stretching in all collections..


Default Value: CC50

Description: The assigned CC moves the tempo mode slider.

Auto Tempo



Default Value: Off

Description: The assigned CC switches between patches automatically selecting the best-sounding option for

the Tempo Slider and you needing to move this slider manually.

Manual Tempo



Default Value: CC51

Description: The assigned CC selects the BPM used for the articulation if Lock To Host is off.

Niente



Default Value: Off

Description: With the assigned CC or MIDI Note, the lowest dynamic setting (usually CC1 at 0) will cause

the instrument to be completely silent. Use this setting when using your instruments with a breath or wind

controller.

85


CAPSULE User Guide


Soft Low Layer



Default Value: Off

Description: With the assigned CC or MIDI Note, the lowest dynamic layer will first be increased in volume

when controlling dynamics and only later the next layer will begin to fade in, allowing softer low dynamics.

Ignore Noises



Default Value: Off

Description: The assigned CC or MIDI Note makes the playing noises (wind or bow, depending on the

library) not be affected by the Niente and Soft Low Layer option. This way the noises will still be present

even if playing very softly.

Volume Range

Used by: All Single Articulation patches in all collections.


Default Value: Off

Description: The assigned CC adjusts the volume scaling of the recorded velocity layers to allow for greater

or narrower dynamic range.

Lock to Beat

Used by: All Time machine-enabled patches in all collections.


Default Value: Off

Description: The assigned CC lets the played sample start on the next full beat.

Cutoff F il te r On/Off



Default Value: Off

Description: The assigned CC or MIDI Note switches the Cutoff Filter on or off.

Cutoff F il te r CC



Default Value: CC1

Description: The assigned CC controls the Cutoff Filter.

At tack



Default Value: CC73

Description: The assigned CC controls the articulation attack parameter.

86


CAPSULE User Guide

At tack Curve



Default Value: CC74

Description: The assigned CC controls the articulation attack curve.

Re lease



Default Value: CC72

Description: The assigned CC controls the articulation release parameter.

Time St re tching

Used by: All TimeMachine-enabled patches in all collections.


Default Value: CC51

Description: The assigned CC controls the time stretching parameter.

Pedal Sound

Used by: All patches with recorded pedal noise.


Default Value: Off

Description: The assigned CC controls the level of pedal noise.

Hammer On/Pul l Off

Used by: All Electric Guitar patches.


Default Value: Off

Description: The assigned CC or MIDI Note moves the attack startpoint of any played note to omit the

sound of the plectrum.

87


CAPSULE User Guide


Mixer

Te ldex IR

Used by: All BWW EXP+C patches.


Default Value: Off

Description: The assigned CC or MIDI Note switches the Teldex Impulse Response on or off.

Te ldex IR Dry



Default Value: Off

Description: The assigned CC controls the amount of dry signal in the patch.

Te ldex IR Wet



Default Value: Off

Description: The assigned CC controls the amount of wet signal in the patch.

Te ldex IR Prede lay



Default Value: Off

Description: The assigned CC controls the pre-delay time in the patch.

<NAME> Fader



Default Value: Depends on Mic Position

Description: The assigned CC controls the fader level of the mic position.

<NAME> Solo




Description: The assigned CC controls the solo state of the mic position.

<NAME> Mute




Description: The assigned CC controls the mute state of the mic position.

88


CAPSULE User Guide

<NAME> Pan




Description: The assigned CC controls the panning of the mic position.

<NAME> Purge




Description: The assigned CC loads or unloads the mic position.

89


CAPSULE User Guide


Multi Artic Settings

The following controllers can only be assigned in Multi Articulation Patches

MI - Mono/Poly Mode

Used by: All Multi Articulation patches.


Default Value: Off

Description: The assigned CC switches between monophonic keyswitching and polyphonic keyswitching.

MI - Ve l . Switch Mode



Default Value: CC25

Description: The assigned CC sets polyphonic keyswitching to switch by playing velocity.

MI - CC Switch Mode



Default Value: CC26

Description: The assigned CC sets polyphonic keyswitching to switch by sending the X Axis MIDI CC.

MI - CC XFade Mode



Default Value: CC27

Description: The assigned CC sets polyphonic keyswitching to crossfade by sending the X Axis MIDI CC.

MI - 2D XFade Mode



Default Value: CC28

Description: The assigned CC sets polyphonic keyswitching to crossfade using 2D morphing via the X Axis

and Y Axis MIDI CCs.

MI - X Fade/Switch



Default Value: CC22

Description: The assigned CC controls the polyphonic keyswitching if set to CC Switch or XFade and

controls the X Axis in the 2D XFade.

90


CAPSULE User Guide

MI - Y Fade (2D)



Default Value: CC23

Description: The assigned CC controls the Y Axis in the 2D XFade.

Leg Ar t ic <n> On/Off



Default Value: CC30

Description: The assigned CC switches the legato on or off for the respective slot in the Multi Articulation

patch.

91

| Appendices | New Features

CAPSULE User Guide


14.2 New Features

This section lists new features added in new Capsule versions.

Depending on which version of Capsule a collection uses, these feature may not be part of all collections

yet, but will be added in later updates.

The Patch Info View in each patch shows the Capsule version used in that collection.

Capsule 2.2Auto Sustain (MA1)When enabled, the current note will continue to sound until a new note is pressed. This option makes the

patch monophonic.

Hammer On/Pull Off (MA1)When enabled, the start point of the samples will be moved to omit the plectrum attack in guitar patches

using this feature.

Monophonic Keyswitching while notes are heldWhen in monophonic mode, switching between slots in Multi Articulation Patches is now possible while

notes are still held.

Capsule 2.1Tempo Sync follows tempo changesAll tempo-synced patches (like the Trills Measured) will now dynamically follow your host tempo while you

change it. This means you can have trills that get faster while playing without having to retrigger the note.

Poly KS/Fade will now show the stateWhen you use Poly KS/XFade, you can now see the current state at the bottom of the articulation view. The

current setting will light up.

Locked ViewAll Multis now have a Locked View represented by a lock icon in the lower left. It works this way: Set up

the multi patch as you want it, then press the lock button. Everything else not selected will be purged and a

UI similar to the Single Artic Patches will show up. Click the lock again to go back to the regular Slot View.

Single Layer articulations show "Single Layer" in the Main KnobWhen an articulation has a single velocity layer, it will now show "Single Layer" in its Main Knob.

Lock to BeatWhen enabled, all tempo-synced patches will start at the next beat. So for example when playing a Trill or

a run, it will be enough to press it before the beat you want it to start on. Capsule will make sure it will be

triggered exactly on the beat.

Incoming Controllers shown in Controller TableThe Controller Table will now show a lit dot in front of the respective Controller Table entry when that

controller comes in.

92

| Appendices | New Features

CAPSULE User Guide

True Damping (BPC and BPC A)A lot of percussive instruments have a very unique damping sound. Wherever worthwhile, these sounds

were extensively sampled for Berlin Percussion and BPC A - The Timpani. If enabled, this option will make

the instrument play True Damping samples when CC64 is not active. CC64 will let the samples ring out.

Dynamic Switch (BPC and BPC A)When enabled, all velocity-mapped keys in the current articulation will not crossfade between dynamic

layers but rather switch between them at breakpoints.

93

| Appendices | Configuring Kontakt's Outputs

CAPSULE User Guide


14.3 Configuring Kontakt's Outputs

Quite often you will want to (or need to) route different microphones to different outputs within Kontakt so

you can treat them independently within your sequencer.

By default, Kontakt only has a few outputs activated. This section tells you how to enable more outputs and

how to save this as the default configuration, so you only need to do it once.

1) Show the Outputs Pane by clicking the Output button in Kontakt's menu bar.

2) Click on Add Channels and choose the options as shown below. Depending on which version of the

plugin you loaded, you can select as many outputs as you need.

3) Press Ok and the new settings will be applied and saved as the default.

Documents

CAPSULE User Guide - Orchestral · PDF file11 Electric Guitar and Bass ... Welcome to the Orchestral Tools CAPSULE User Guide! ... famous orchestras in the world and conceived a whole