EastWest Hollywood Orchestra Opus Edition Virtual Instrument Plug-In (Download) User Manual
Page 103
HOLLYWOOD ORCHESTRA OPUS EDITION
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CHAPTER 3: BROWSE
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Repetitions
In this patch, the same note is played repeatedly at least a dozen times in quick succession.
For fewer repetitions, end the note before the end of the sample. This sequence of notes is
more realistic than just playing the same staccato note multiple times.
This is not a Round Robin instrument. If you do repeat a MIDI note—perhaps because you
need more repetitions than are recorded in the samples—the listener will hear the last repeti-
tion followed by the first one, so there’s no concern about mechanically identical notes follow-
ing each other.
The Mod Wheel affects the loudness, allowing you to increase or decrease the loudness during
the repetitions within a single MIDI note.
Repetitions are available in 3 speeds:
• Fast (170 bpm)
• Medium (145 bpm)
• Slow (120 bpm)
The numbers are the base tempos for the repetitions, that is, what was played during the re-
cording session. These instruments all “sync to tempo,” which means when Opus is used as a
plugin, the tempo matches the speed of the MIDI tempo in the sequencer.
Each patch sounds best when the tempo to which it is being synced is close to its base tempo.
For example, at a tempo of 160, use the closest patch, Fast 170, for the most lifelike playback.
You may need to adjust the length of the MIDI note a little bit in order to end the sequence
between repetitions and not in the middle of one of the repeated notes.
Note: unlike most instruments in the 02 Short folder, this one does include release trails.
Triple Performance
For the 3 Trumpets, there’s a patch called “Triple Performance” that repeats the selected note
exactly 3 times in quick succession. Unlike the Repetitions patches, this does not respond to
the Mod Wheel to affect the loudness.
Double Tongue
Some articulation files indicate that they use the technique known as double tonguing. This
effect lets the user achieve a faster sequence of notes by stopping the airflow alternately with
the tip of the tongue and with the back of the tongue against the palate. The tongue moves in
the same pattern as when saying “tiki tiki tiki.”
Sforzando Crescendo
The Solo Horn and Solo Tuba include a patch called Sforzando Crescendo. Each note starts
with an accented attack (sforzando) which is followed by a strong crescendo.
MIDI Velocity controls the loudness—and the timbre—of the attack as well as the loudness of
the crescendo.
When a note is played short enough to end before the crescendo, this patch can act as a sfor-
zando staccato patch.