BANDSTAND

Operation Manual

The information in this document is subject to change without notice and does not represent a commitment on the part of NATIVE INSTRUMENTS Software Synthesis GmbH. The software described by this document is subject to a License Agreement and may not be copied to other media. No part of this publication may be copied, reproduced or otherwise transmitted or recorded, for any purpose, without prior written permission by NATIVE INSTRUMENTS Software Synthesis GmbH. All product and company names are or trademarks of their respective owners. Users Guide written by: Cliff Douse NATIVE INSTRUMENTS Software Synthesis GmbH, 2005. All rights reserved. BANDSTAND is a trademark of NATIVE INSTRUMENTS Software Synthesis.

Germany NATIVE INSTRUMENTS GmbH Schlesische Str. 29/30 D-10997 Berlin Germany info@native-instruments.de www.native-instruments.de

USA NATIVE INSTRUMENTS USA, Inc. 5631 A Hollywood Boulevard Los Angeles, CA 90028 USA info@native-instruments.com www.native-instruments.com

Table Of Contents
1 Welcome to BANDSTAND!. ......................................................................... 5 2 How to Use This Manual. ............................................................................ 6 3 Product Authorization................................................................................ 7 3.1 What is the Product Authorization?........................................................ 7 3.2 Conducting the Product Authorization.................................................... 8 3.3 Method A: BANDSTAND computer has direct access to the internet. ......... 9 3.4 Method B: Internet Connection on another computer. .............................11 3.5 Method C: No Internet Connection available......................................... 14 3.6 Registration support. .......................................................................... 16 4 Installation under Windows XP.................................................................. 16 4.1 System Requirements and Recommendations....................................... 16 4.2 Software Installation.......................................................................... 16 4.3 VST plug-in Installation.......................................................................17 4.5 DXi 2 plug-in Setup............................................................................17 4.6 RTAS plug-in installation.................................................................... 18 5 Installation under MacOS X...................................................................... 18 5.1 System Requirements and Recommendations....................................... 18 5.2 Installing BANDSTAND OS X ............................................................. 18 5.3 MacOS Audio Unit plug-in Installation. ................................................. 19 5.4 RTAS plug-in installation.................................................................... 19 6 Audio Interfaces...................................................................................... 20 6.1 Stand-alone Application. ..................................................................... 20 7 BANDSTAND as Standalone..................................................................... 24 7.1 Soundcard (Audio Interface). ............................................................... 24 7.2 MIDI. ................................................................................................ 26 8 BANDSTAND as Plug-In........................................................................... 27 8.1 VST 9.0 Plug-In. ................................................................................ 27 8.2 Audio Units Plug-ins.......................................................................... 28 8.3 DXi 2 plug-in ................................................................................... 32 8.4 RTAS plug-in. .................................................................................... 33 9 Play View................................................................................................ 34 9.1 Options button. .................................................................................. 35 9.2 Channel Cell. ..................................................................................... 37 9.3 Instrument Browser. ........................................................................... 37 9.4 Quick Edit Bar. .................................................................................. 39 9.5 Virtual Keyboard................................................................................ 45 10 Mix View. ................................................................................................ 46 10.1 Instrument Selection........................................................................ 46 10.2 EQ Presets...................................................................................... 47 10.3 Chorus. ........................................................................................... 47 10.4 Reverb............................................................................................ 47 10.5 Volume........................................................................................... 48

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10.6 Pan................................................................................................ 48 10.7 Solo/Mute Buttons........................................................................... 48 11 Master Section........................................................................................ 49 11.1 Chorus............................................................................................ 49 11.2 Reverb............................................................................................ 50 11.3 EQ. ................................................................................................. 51 11.4 Limiter. ........................................................................................... 52 11.5 Volume........................................................................................... 53 12 MIDI File Player. ...................................................................................... 55 12.1 Load icon. ....................................................................................... 55 12.2 Render To Audio icon....................................................................... 55 12.3 Program Changes/ Mixer Settings On/ Off Icon................................... 55 12.4 Tempo Display/Control..................................................................... 56 12.5 Time Display................................................................................... 56 12.6 Start Button.................................................................................... 56 12.7 Play Button..................................................................................... 56 12.8 Loop Button.................................................................................... 57 13 MIDI Automation..................................................................................... 57 13.1 Hardware and software controllers..................................................... 57 13.2 How to automate BANDSTAND. ......................................................... 58 13.3 Envelopes and lters ....................................................................... 59 14 The Sound Library................................................................................... 60 15 Appendix I - Presets................................................................................ 61 15.1 Instrument Presets (1 64).............................................................. 61 15.2 Instrument Presets (65 128). ......................................................... 63 15.3 Drumkits. ........................................................................................ 65 16 Appendix II Common CC# Parameters. .................................................... 65 16.1 Instruments. .................................................................................... 66 16.2 Drum Instruments. ........................................................................... 67 17 Appendix III Other Parameters............................................................... 68 17.1 Instruments..................................................................................... 68 17.2 Drum Instruments............................................................................ 72 17.3 Master............................................................................................ 76 18 Appendix IV MIDI Implementation.......................................................... 79 19 Appendix V Hotkeys.............................................................................. 81 20 Appendix VI Tuning Tables..................................................................... 82 20.1 Pure Tunings................................................................................... 82 20.2 Pythagorean Tunings. ....................................................................... 82 20.3 Meantone temperaments.................................................................. 83 20.4 Well-temperaments.......................................................................... 83 21 Appendix VII Scale Types. ...................................................................... 84 22 Getting Help The About Screen.............................................................. 85 22.1 Knowledge Base / Readme / Online Support....................................... 85 22.2 Updates. ......................................................................................... 85 Index. .......................................................................................................... 86

IV BANDSTAND

1 Welcome to BANDSTAND!
BANDSTAND plays MIDI music the way it should be played. Its studioquality samples and ease of use establishes a new benchmark far beyond conventional GM modules. Intuitive sound mixing tools and exceptional effects deliver a flexibility that make BANDSTAND the ideal tool in a wide range of situations. Built on the award-winning KONTAKT2 engine, it takes advantage of groundbreaking sampling technology and combines this with a 2GB library of premium quality sounds. The result is a sound module of unprecedented versatility and sonic capabilities. BANDSTAND boasts a wealth of powerful features including a comprehensive 16-channel mixer with individual EQ and effects level controls for each channel. Top quality master effects such as chorus, EQ, a convolution reverb and a limiter are also included. An onboard Humanize editor can be used to create more human-like MIDI performances by making user-definable adjustments to timing, tuning, velocity and volume parameters of notes, while a Quantizer can provide accurate time keeping and alternative rhythm options. The onboard MIDI Player can render loaded files straight to audio. All of BANDSTANDs parameters can be automated by a hardware controller or MIDI sequencer and these automations can be recorded. But thats not all BANDSTAND allows you to audition all of its sounds without having to load them into RAM. Theres also an Optimize Memory function which can remove samples youre not using from memory to save RAM. Although it has an unprecedented wealth of features, BANDSTAND is extremely easy and intuitive to use making it an ideal sound module for live performances. It can also be loaded as a top quality plug-in into any popular host sequencer for studio use or educational purposes. BANDSTAND is compatible with the GM1, GM2, XG, GS and HQ control systems. As you can see, BANDSTAND is no ordinary MIDI player. In fact, it will change the way GM modules are perceived. We hope you enjoy it and use it to realize your musical dreams. Your NATIVE INSTRUMENTS Team

BANDSTAND 

2 How to Use This Manual

Its been said that the definition of power user is someone who reads the manual. Its also been said that musicians dont read manuals. So if you want to get a creative edge on your fellow musicians, read the manual! Besides, it took us a lot of time and effort to write it, and wed hate to think all that work was for nothing. This manual has been written so that you can pretty much sit down with BANDSTAND and try the various functions as they are described. You can get through the entire manual, checking out sounds as you go, in a few days - which will be time well-spent if you want to get the most out of this wonderful sampler. However, remember that the purpose of this manual is to teach you about BANDSTAND, not be a complete course on everything there is to know about electronic music, synthesis, and sampling. If youre familiar with these topics, then the manual should make sense. If not, there are many books and magazine articles available to help you get up to speed. Finally, remember that learning BANDSTAND is like learning any musical instrument: Practice makes perfect. Of course, you can just load in presets, hit the keys, and make some great sounds. But for the adventurous, BANDSTAND is full of cool surprises and interesting options. Take the time to get to know it, and you will be rewarded with original, creative sounds that can help take your music to the next level.

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3 Product Authorization
Part of the BANDSTAND installation is a Product Authorization which has to be fullfilled in order to make permanent use of the software. We recommend that you take notice of this chapter first, then proceed with the software installation as described in the following chapters and finally return to this chapter.

3.1 What is the Product Authorization?

The Product Authorization includes a full registration. After having completed the authorization, you can make use of all online services related to the registered product. On the NATIVE INSTRUMENTS website you can read online tutorials, get technical support, participate in the NI forums and download updates. BANDSTAND requires the Product Authorization in order to use the software permanently. You can run BANDSTAND for 30 days without any limitations. As long as the software runs unauthorized a message at every program start reminds you that the authorization has not been completed yet and indicates how many more days the software is running without an authorization. The Product Authorization is performed by a small application called Registration Tool. The Registration Tool generates a so called System ID which serves as request code for receiving an Authorization Key. The System ID is based on some hardware components of your computer system, the operating system version and the serial number you have entered at the BANDSTAND installation. Note: Exchanging your audio card, MIDI interface or external equipment will not start the request for a new Authorization Key. Only exchanging a basic hardware component in your computer or installing a new operating system might produce a new Product Authorization request. In this case the Registration Tool will reflect the change by displaying a new System ID and you have to repeat the Product Authorization. The System ID has to be sent to NATIVE INSTRUMENTS in order to receive the Authorization Key which allows the permanent use of BANDSTAND. Since the Product Authorization is part of the license agreement BANDSTAND will stop launching after 30 days if it was not authorized until then. Of course, it is also possible to complete the Product Authorization after 30 days. In this case the software will launch again as soon as the Product Authorization has been completed. BANDSTAND 

Note: The data transfer at the online Product Authorization is done via a secure connection using 128 bit encryption. NATIVE INSTRUMENTS keeps your personal data like email and postal address in confidence. No data will be passed to a third party.

Registration Tool

3.2 Conducting the Product Authorization

NATIVE INSTRUMENTS has set a high value on making the authorization procedure as easy and comfortable as possible. In the following sections we describe three methods of conducting the Product Authorization. We recommend Method A and Method B since these result in the easiest and fastest way of receiving the Authorization Key.

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3.3 Method A: BANDSTAND computer has direct access to the internet

Important: This method requires a valid email address to complete the Product Authorization, since the registration code will be sent to you by email. Windows: Start the Registration Tool from the start menu (Native Instruments Bandstand Bandstand Registration Tool) or from the BANDSTAND installation folder (default path: C:\Program Files\Native Instruments\Bandstand\).

MacOS: Start the Registration Tool from the BANDSTAND installation folder (default path: Applications\Bandstand).

A click on the Register Now button opens the NATIVE INSTRUMENTS registration webpage. Therefore your standard Internet Browser will be opened and an internet connection will be established according to your system settings. Your System ID will be automatically transmitted to the registration form.

On the first online page you are asked if it is your First Registration at NATIVE INSTRUMENTS or if you want to do an Additional Registration.

BANDSTAND 

 Depending on the option you have chosen on the first online page you now get a login page asking for your username and password or a form where you can fill out your address data. Please fill out all required fields and follow the instructions on the screen to complete the registration.

On the last online registration page your Authorization Key is directly shown in the browser. Please copy the full number (12 x 5 digits) and paste it to the registration tool. Within a few minutes you will also receive an email from the NATIVE INSTRUMENTS registration system containing the Authorization key. The Authorization key is available in the email body and additionally as text attachment. This email also contains the password which is required for using the online services.

Start the Registration Tool again and either copy the Authorization Key from the email and press the Paste from Clipboard. button in the Registration Tool or use the Open File button in the Registration Tool to open the email attachment which you previously have saved to hard disk.

10 BANDSTAND

 Click on the Complete button.

After completing the Product Authorization the Registration Tool looks like this Now the BANDSTAND Product Authorization has been completed. The authorization message at every BANDSTAND start has disappeared and you can use the software permanently:

3.4 Method B: Internet Connection on another computer

Important: This method requires a valid email address to complete the Product Authorization, since the Authorization Key will be send to you by email. Windows: Start the Registration Tool from the start menu (Native Instruments Bandstand Bandstand Registration Tool) or from the BANDSTAND installation folder (default path: C:\Program Files\Native Instruments\Bandstand\).

BANDSTAND 11

 MacOS: Start the Registration Tool from the BANDSTAND installation folder (default path: Applications\Bandstand\).

A click on the Save Registration File button opens a Save dialog for saving a HTML file. Save the HTML file to any storage medium.

Transfer the HTML file to another computer where you have internet access (via floppy disk, CDR etc.). Open the HTML file in your internet browser. The HTML page contains a link for the registration page on the NATIVE INSTRUMENTS website. When you click on this link an internet connection will be established according to your system settings. On the first online page you are asked if it is your First Registration at NATIVE INSTRUMENTS or if you want to do an Additional Registration.

Depending on the option you have chosen on the first online page you now get a login page asking for your username and password or a form where you can fill out your address data. Please fill out all required fields and follow the instructions on the screen to complete the registration. Within a few minutes you will receive an email from the NATIVE INSTRUMENTS registration system containing the Authorization key. 12 BANDSTAND

The Authorization key is available in the email body and additionally as text attachment. This email also contains the password which is required for using the online services. Transfer the text attachment to the computer where you have installed BANDSTAND. Start the Registration Tool again and use the Open File button in the Registration Tool to open the email attachment which you previously have saved to hard disk.

Click on the Complete button.

After completing the Product Authorization the Registration Tool looks like this Now the BANDSTAND Product Authorization has been completed. The authorization message at every BANDSTAND start has disappeared and you can use the software permanently:

BANDSTAND 13

3.5 Method C: No Internet Connection available

Important: Following this method you will have to fill in a form which you send to NATIVE INSTRUMENTS. You will receive the Authorization Key either by email (recommended), by postal mail or by fax. If you do not provide NATIVE INSTRUMENTS with a valid email address in the form, be prepared to type in the Authorization Key manually (about 60 digits). If you do not have access to the internet or if you do not have a working email address, the Product Authorization can also be done via postal mail or fax. Although NATIVE INSTRUMENTS goes after a fast handling of your authorization requests, it is generally recommended that you prefer Method A or Method B for shortest return times and most comfortable operation. Please note the following instructions to fullfill the Product Authorization: Windows: Start the Registration Tool from the Windows start menu (Native Instruments Bandstand Bandstand Registration Tool) or from the BANDSTAND installation folder (default path: C:\Program Files\Native Instruments\Bandstand).

MacOS: Start the Registration Tool from the BANDSTAND installation folder (default path: Applications\Bandstand)

A click on the Fill Out Form button opens a local HTML file in the operating systems standard browser or another program which you have defined as standard application for opening HTML files.

14 BANDSTAND

 The HTML file contains all information NATIVE INSTRUMENTS requires for completing the Product Authorization and registration. Please fill in the required data and print it out, or write a letter containing the data. If you write a letter please attend to a legible handwriting to avoid mistakes at the NATIVE INSTRUMENTS registration team. Illegible email or postal addresses can cause problems with the Authorization Key delivery. Send the form to NATIVE INSTRUMENTS using one of the following contact addresses: NATIVE INSTRUMENTS GmbH Registration Schlesische Strae 28 10997 Berlin NATIVE INSTRUMENTS USA 5631 A Hollywood Boulevard Los Angeles CA 90028 USA

Germany Fax: +49 30 6110352400 Fax: +1-323-372-3676 You will receive the Authorization Key via email (recommended), fax or mail. Start the Registration Tool again and either copy the Authorization Key from the email and press the Paste from Clipboard button in the Registration Tool or use the Open File button in the Registration Tool to open the email attachment which you previously have saved to hard disk. If you have received the Authorization Key by mail or fax, type it in manually. Click on the Complete button. Now the BANDSTAND Product Authorization has been completed. The authorization message at every BANDSTAND start has disappeared and you can use the software permanently: BANDSTAND 15

3.6 Registration support

If you run into problems during the Product Authorization the NATIVE INSTRUMENTS registration support team will be happy to help you. In this case send a support request on the NI website using the following URL: http://www.native-instruments.com/registersupport.info Please describe the occurred problem as accurate as possible and provide the registration support team with the necessary details to solve the problem.

4 Installation under Windows XP

4.1 System Requirements and Recommendations
To use the BANDSTAND software, you need a computer with the following minimum specifications:

Hardware
Pentium or Athlon XP 1.4 GHz. 512 MB RAM Up to 50 MB for the installation and up to 2,5 GB for the library. A sound card compatible with Windows XP DVD drive

Software
Windows XP

4.2 Software Installation

Insert the BANDSTAND DVD into the DVD drive. Use the Windows Explorer to view the contents of the DVD. Start the installation by double-clicking Bandstand Setup.exe. The setup program will suggest C:\Program Files\Native Instruments\ Bandstand as the path for the destination folder. You may also choose another folder if you wish.

16 BANDSTAND

Installed Folders, Files, and Links

The setup program creates a new folder called BANDSTAND\ in the installation directory (Program Files\Native Instruments). This folder contains the files required to operate the software. If you do not choose a different program group during the installation, links to BANDSTAND and a ReadMe file are added to the Start menu under Programs/Native Instruments.

4.3 VST plug-in Installation

Insert the Installation DVD into the DVD drive. Use the Windows Explorer to view the contents of the DVD. To start, double-click the Bandstand Setup.exe file. When the choice is given by the installer, select VST plug-in from the list of components to install. You can now choose to automatically search for the VST plug-in folder or manually select the VST plug-in folder of your choice. Please select the option that best suits your installation requirements. Note: If more than one host program for VST 2.0 plug-ins is installed on your computer, the installer lets you install to multiple VST-folders by shift-clicking them. If you decide to install them at a later date, simply copy the Bandstand VST.dll file into the VST plug-ins folders of these programs. Windows: If the VST plug-in files are not visible in the Windows Explorer, select the Show All Files option. This option is located in the Explorer menu View Folder Options... on the View tab below Hidden Files. Optionally, you can set up your programs so that they all use the same VST plug-ins folder.

4.5 DXi 2 plug-in Setup

DXi 2 is a plug-in interface for software synthesizers and instruments based on Microsoft DXi technology. Sonar from Cakewalk and Fruity Loops are the most well known host sequencers that support DXi.

Installation
Insert the Installation DVD into the DVD drive of your computer. Use the Windows Explorer to view the contents of the DVD and doubleclick the Bandstand Setup.exe file to start the installation.

BANDSTAND 17

 Continue the BANDSTAND installation until you come to the Choose plug-ins page. Tick the checkbox DXi plug-in. The installation program copies the BANDSTAND plug-in to your hard disk and registers it as a DXi 2 plug-in for use in DXi 2-compatible host programs. After the installation, BANDSTAND appears as a plug-in in the host program.

4.6 RTAS plug-in installation

Launch the BANDSTAND Installer from the DVD. Select the Custom installation type. Select only RTAS from the list of components to install.

5 Installation under MacOS X

5.1 System Requirements and Recommendations
To use the BANDSTAND software, you need a computer with the following minimum specifications:

Hardware
Apple PowerMac G4 1,4 GHz or faster 512MB RAM Audio interface compatible with Core Audio Up to 50 MB for the installation and up to 2,5 GB for the library. DVD drive

Software
MacOS 10.3.x

5.2 Installing BANDSTAND OS X

Insert the Installation DVD into the DVD drive of your computer. Double-click the installation program Install BANDSTAND to start it.

18 BANDSTAND

 The start screen appears first. After clicking Continue and confirming the license agreement, a dialog opens where you can select the installation location and the destination folder. The installation program suggests a path for the BANDSTAND folder; if you do not select a different destination, the BANDSTAND folder is created on the first hard disk. You can choose between Easy Install, where both the stand-alone and plug-in versions are installed, or Custom Install, where you can select which versions you want to install.

5.3 MacOS Audio Unit plug-in Installation

Launch the BANDSTAND Installer from the DVD Select the Custom installation type. Select only Audio Unit from the list of components to install.

5.4 RTAS plug-in installation

Launch the BANDSTAND Installer from the DVD Select the Custom installation type. Select only RTAS from the list of components to install.

BANDSTAND 19

6 Audio Interfaces
Audio interfaces, which include software routines called drivers, allow BANDSTAND (and other programs you have installed, if present) to communicate with your computers audio hardware. This section describes how to use various audio interfaces with BANDSTAND. There are two main ways to implement BANDSTAND: As a stand-alone device that requires no host software. BANDSTANDs audio and MIDI connections interact directly with your computers audio/MIDI hardware interface. As a plug-in that works in conjunction with a host program, such as sequencing or hard disk recording software. In this case, the host program interacts directly with the computers hardware interface. BANDSTAND connects to the host program via virtual patch cords. BANDSTANDs audio outputs appear as signals in the hosts mixer, and the host passes MIDI data to BANDSTAND. Well describe each mode in detail, but first lets look at the various interface drivers and plug-in formats used by different operating systems and programs.

6.1 Stand-alone Application

BANDSTAND works in stand-alone mode with ASIO, MME, DirectSound, and Core Audio. The BANDSTAND/computer combination acts as an instrument, similar to a hardware digital synthesizer. The table shows you which drivers are available under which Operating System:
Driver ASIO 2.0 DirectSound MME Core Audio Windows MacOS X

Plug-In
Used as a plug-in, BANDSTAND is not a stand-alone program but rather a program module that can be integrated into a host program such as a sequencer. plug-in mode allows you to integrate it seamlessly with the sequencer. Furthermore, it has many other uses as a plug-in:

20 BANDSTAND

 MIDI sequencing of BANDSTAND and audio mix-down of the MIDI tracks within a single program Comfortable automation of BANDSTAND parameters in the sequencer Further processing of BANDSTAND signals using additional plug-ins Sample-accurate timing with MIDI controllers (when used as VST 2.0 plug-in) Restoring of all plug-in settings when the host document (such as a song file of the sequencer) is loaded Integration with other instruments into a virtual studio The shortcuts / key commands do not work in all sequencers. This is due to the fact that the host capture keys for themselves and do not pass them on to the plug-in. This table provides you with an overview of which interfaces are supported by which host programs:
Plug-in Interface Host-Program Windows Mac

VST 2.0 Plug-in DXi Audio Units

Cubase, Nuendo Sonar Logic

Note: Some hosts include wrappers that allow running BANDSTAND with a choice of plug-in protocols. Try each one, as one may offer better performance than another. Example: With Sonar, running BANDSTAND as a DXi instrument allows using multiple outputs, while running it as a VST instrument provides more automation options

Interface Details
The interfaces described below represent different ways BANDSTAND can communicate with your sound card. Available interfaces depend on your computer, the audio interface (sound card) youre using, and your computer platform (BANDSTAND supports Windows XP or MacOS X). Choose the fastest interface protocol supported by your interface, which will likely be ASIO with Windows, or Core Audio for Mac. For Windows, you can also use DirectSound and Multimedia (also called MME), but expect a significant delay (called latency) between the time you play a note and the time you hear it.

BANDSTAND 21

ASIO (Audio Streaming Input Output): This cross-platform plug-in protocol was developed by Steinberg. It is highly recommended for its low latency, multi-channel audio card support, and high performance. DirectSound: Developed by Microsoft, this is a is a component of DirectX 5.0 or higher for Windows. How well DirectX works well depends on your sound card. If you adjust the interface for an acceptable amount of latency, you may hear glitches and clicks in the audio output that can only be fixed if you increase latency. MME (Multi Media Extension): This is the standard Windows audio driver. Most sound cards support this interface and work with it quite well. However, MME is even less suitable than DirectSound for real-time applications due to its comparatively high latency. Core Audio: This audio interface for MacOS X is integrated tightly into the operating system, and works with external audio hardware as well as the Macs integrated audio output.

Plug-In Details
VST (Virtual Studio Technology): Like ASIO, this cross-platform plug-in technology was developed by Steinberg. It is the most common plug-in format, and many programs are optimized to work with VST plug-ins. DXi2 (DirectX Instrument 2): Based on Microsoft DirectX technology, this plug-in interface for software synthesizers and instruments is designed for low latency and high performance on the Windows platform. Cakewalk Sonar and Image Line FL Studio are the most well-known hosts that support DXi. RTAS (Real Time Audio Suite): This interface protocol from Digidesign allows using plug-ins with ProTools (or other Digidesign-compatible software). Unlike traditional TDM effects that depend on using Digidesign hardware, RTAS plug-ins are native; the host processor performs all computations needed for the plug-in. AU (Audio Units): This plug-in format is exclusively for the Macintosh OS X platform, and is tied in closely with the operating system.

22 BANDSTAND

More About Latency

As with any digital device (including hardware signal processors) that convert audio to data and back again, a computer adds a certain amount of delay (latency) when processing audio signals. Fortunately, with todays computers and low-latency sound card drivers, this delay can be so small that you cant hear it (e.g., under 3 milliseconds, which is about the same delay caused by moving your head one meter further away from a speaker). However, typical computers are generally not set up for low latency; attempting to play in real time through BANDSTAND will probably be unsatisfying because of the delay. If your computer is already configured for low-latency operation, keep reading. Otherwise, before installing BANDSTAND, please turn to Appendix A on Optimizing System Response for information about obtaining the lowest possible system latency.

BANDSTAND 23

7 BANDSTAND as Standalone
When used as a plug-in, the host program has already set up its audio and MIDI connections, and BANDSTAND simply plugs in to these. However, with stand-alone operation BANDSTAND communicates directly with your audio interface. Its therefore necessary to specify audio and MIDI settings, as well as the preferred driver protocol (of course, plug-in format is not an issue). Setup for Mac and Windows machines is essentially identical, except where indicated. Note that if you change your audio interface, you will almost certainly need to re-adjust these settings. Call up the Audio + MIDI Settings setup dialog from the Setup menu. Youll see three tabs for Soundcard, Routing (audio output patching), and MIDI.

7.1 Soundcard (Audio Interface)

Audi + MIDI Settings dialog

24 BANDSTAND

Interface: Choose the fastest interface protocol supported by your interface, which will be ASIO or Core Audio. For Windows, you can also use DirectSound and Multimedia (also called MME), but expect a significant delay between the time you play a note and the time you hear it. Windows only: Avoid using any drivers listed as emulated, as they provide poorer performance than other drivers. For example, although DirectSound drivers generally outperform MME drivers, MME drivers will outperform emulated DirectSound drivers. Sample rate: The drop-down menu will display compatible sample rates for your audio interface. 44.1kHz is the same sample rate used for CDs, and is the most universal choice. However, some audio interfaces offer 48kHz and 96kHz (BANDSTAND accepts up to 96kHz sample rates). These higher rates stress your computer more, but offer somewhat better high frequency response. If you are using BANDSTAND standalone, choose whichever rate you prefer. When used as a plug-in with a host program (e.g., Cubase, Digital Performer, Logic, Sonar, etc.), the host will determine the sample rate. Output Device: Use ASIO written specifically for your audio interface (not ASIO DirectX or ASIO Multimedia, unless no other choices are available), or for the Mac, Core Audio. Output Latency: This field displays the output latency. For some drivers you can adjust the latency individually using a fader. Adjust latency for the fastest possible setting that gives consistent audio performance. The CPU may not be able to keep up with fast settings, resulting in possible crackles or pops in the audio. Slower settings will give more consistent audio performance, but the amount of delay may be musically unsatisfying. Experiment with the latency setting until you find the best compromise between consistent audio performance and fast response. A quick way to adjust latency is as follows: Select any instrument and play it while moving the Latency slider. Move the Latency slider to the left until you start to hear clicks in the audio output. Now move the slider to the right until the clicks disappear. This is the optimum setting.

BANDSTAND 25

7.2 MIDI

If your MIDI interface offers multiple ins and outs, you can choose which one connects to BANDSTAND. When you click on the MIDI tab youll see a list of MIDI I/O. Initially, each one will be Off. This field is a toggle click on Off to turn an input or output On, click on On to turn an input or output Off. If you enable more than one input, they will be merged.

26 BANDSTAND

8 BANDSTAND as Plug-In
8.1 VST 9.0 Plug-In
Using the BANDSTAND plug-in in Cubase SX 3
Launch Cubase, go to the Devices menu option and select the VST Instruments menu option or press F11 on your keyboard. A window showing the instrument rack appears. Click on an empty slot and choose BANDSTAND from the available list of instrument plugins.

The plug-in will now appear in your list and automatically be turned on. It will also create a set of audio channels in your VST mixer that will be used for mixdown within your project. This will allow you to mix, pan, and process BANDSTAND's output just like any other existing audio track in your Cubase song. Click on the Edit button to call up the BANDSTAND interface. Here you can control and edit all the features and functions that BANDSTAND has to offer. Now go to the "Project" page and add a MIDI track (if you do not have one already created).

Go to the Output parameter section for this MIDI Track and click on the field. This will create a list of available MIDI out ports to assign to this MIDI track. Choose BANDSTAND from the list. Note: If BANDSTAND does not appear in the list of available VST instruments inside your VST 2 host application, then it is not installed correctly. Please refer to the previous section on installing the plug-in for both Windows and Mac platforms for more assistance on setting this up.

BANDSTAND 27

After having loaded an Instrument from the library you should be able to trigger it via MIDI using a keyboard controller. BANDSTANDs sound will generate through the VST mixer and directly to your sound card. If the plug-in does not receive MIDI or generate audio, then make sure to check the following areas: Make sure "MIDI thru" is enabled in Cubase. The MIDI channel of your MIDI track must correspond to the receive channel of the loaded instrument. Make sure that you have properly configured your sound card for use with Cubase. (please refer to your Cubase manual for more information)

8.2 Audio Units Plug-ins

Use in Logic 7.x
Launch Logic and create an audio instrument track or set an existing audio or MIDI track to an audio instrument track by clicking on it, holding down the mouse button and choose Audio Audio Instrument Inst 1.

Double click the audio instrument track to open the environment win dow. Logic scrolls automatically to the first instrument bus in the Logic mixer. Choose the BANDSTAND Audio Unit plug-in in the appropriate insert slot of the instrument mixer bus, either in the arrange or mixer window. Then click onto the insert slot, hold down the mouse button and choose Stereo Audio Units Native Instruments Bandstand. (BANDSTAND is also available as a multi-channel insert)

28 BANDSTAND

 The plug-in now appears in the instrument slot and is ready to use. The instrument mixer channel will allow you to mix, pan, and process BANDSTANDs output just like any other existing audio track in Logic. If the BANDSTAND interface is not already open, double click on the mixers BANDSTAND slot to call up the BANDSTAND interface. Here you can control and edit all the features and functions that BANDSTAND has to offer. Note: If BANDSTAND does not appear in the list of available AUinstruments inside your AU host application, then it is not installed correctly. Please refer to the previous section on installing the plug-in for the Mac platform for more assistance on setting this up. After having loaded an Instrument from the library you should be able to trigger it via MIDI using a keyboard controller. BANDSTANDs sound will generate through the mixer and directly to your sound card. If the plug-in does not receive MIDI or generate audio, then make sure to check the following two areas: Make sure the Inst track is selected in the Arrange window. The MIDI channel of your MIDI track must correspond to the receive channel of the loaded instrument. Make sure that you have properly configured your sound card for use with Logic. (please refer to your Logic manual for more information).

Use in Digital Performer 4.5

Launch Digital Performer and create an instrument track by selecting Project Add Track Instrument Track Bandstand.

BANDSTAND 29

 Create a MIDI track by selecting Project Add Track Midi Track. In Digital Performers track overview window (or in the sequence editor window) assign the ouput of this MIDI track to BANDSTAND-1 and a MIDI channel. If you instantiate further BANDSTAND Plug-Ins they will be named BANDSTAND-2, BANDSTAND-3 etc.

The plug-in is now ready to use. The mixer of Digital Performer will allow you to mix, pan, and process BANDSTAND's output just like any other existing audio track. To play BANDSTAND with your keyboard, record enable the MIDI track which you have routed to BANDSTAND and make sure Midi Patch Through is enabled in the Studio menu of Digital Performer. Double click on the BANDSTAND slot in Digital Performers mixing board to call up the BANDSTAND interface. Here you can control and edit all the features and functions that BANDSTAND has to offer. Note: If BANDSTAND does not appear in the list of available Audio Unit plug-ins inside your Audio Units host application, then it is not installed correctly. Please refer to the previous section on installing the plug-in for Mac platforms for more assistance on setting this up. 30 BANDSTAND

After having loaded an Instrument from the library you should be able to trigger it via MIDI using a keyboard controller. BANDSTANDs sound will generate through Digital Performers mixer and directly to your sound card. If the plug-in does not receive MIDI or generate audio, then make sure to check the following two areas: Make sure Midi Patch Through is enabled in the Studio menu of Digital Performer. The MIDI channel of your MIDI track must correspond to the receive channel of the loaded instrument. Make sure that the instruments track output is correctly set. Make sure that you have properly configured your sound card for use with Digital Performer. (please refer to your Digital Performer manual for more information).

Use in Garage Band

Launch Garage Band Press the + button to create a new Software Instrument Track. From here you can choose the icon you wish to use. Double-click the instrument track icon or press the I icon to get the Track Info. From the Info window expand the Details triangle underneath the In strument icon to expose the track settings. From the Generator drop-down menu, choose BANDSTAND from among Audio Unit plug-ins. Clicking on the pencil icon next to the Manual drop-down menu will open the BANDSTAND interface for editing. BANDSTAND can now be played using an external MIDI keyboard.

BANDSTAND 31

8.3 DXi 2 plug-in

DXi is a Microsoft DirectX technology based plug-in format

Use in Sonar 4
Launch Sonar In the synth rack choose BANDSTAND DXi 2.

Loading the BANDSTAND DXi 2 plug-in in the synth rack Route a MIDI track to the DXi 2-Plug-in by selecting BANDSTAND in the Out drop down list.

Assign a MIDI track to the BANDSTAND -DXi-Plug-in After having loaded an Instrument from the library you should be able to trigger it via MIDI using a keyboard controller. BANDSTANDs sound will generate through Sonars mixer and directly to your sound card. If the plug-in does not receive MIDI or generate audio, then make sure to check the following two areas: Make sure Midi Patch Through is enabled in the Studio menu of Sonar. The MIDI channel of your MIDI track must correspond to the receive channel of the loaded instrument. Make sure that the instruments track output is correctly set. Make sure that you have properly configured your sound card for use with Sonar. (please refer to your Sonar manual for more information).

32 BANDSTAND

8.4 RTAS plug-in

Using BANDSTAND with Pro Tools
The RTAS format is an interface protocol for Mac OS and Windows that allows you to use plug-ins with ProTools independently from additional TDM hardware. In this case, the host processor alone performs all of the computations for the plug-in. Launch Pro Tools Create a new Instrument track : File New Track Locate the channel mixer : Windows Show mix The dark grey box at the topmost section of the Instrument channel is the RTAS insert section. Click on the first empty slot to show all available RTAS plug-ins. Choose plug-in Instrument BANDSTAND from the menu

A MIDI node is automatically created and after record enabling the MIDI track, you will be able to play B4 with your MIDI keyboard. (Please refer to your Pro Tools manual for more information on how to record the output of BANDSTAND).

BANDSTAND 33

9 Play View
BANDSTANDs Play View window is where you can choose your GM instruments, allocate them to any of 16 MIDI channels, and adjust their pitch, tuning and other characteristics according to your requirements.

The main Play View area contains 16 cells one for each channel in BANDSTANDs 16-track GM player. Beneath the cells is an Instrument Browser which allows easy access to all of BANDSTANDs instruments. In between the cells and the Instrument Browser is a Quick Edit Bar with button controls for modifying instrument settings. A complete preset with instruments and their associated settings is called a Preset. You can load or save a Preset in the Header area above the Play View Window. You can also use the Header to delete a Preset, adjust its settings, or switch between the Play View and Mix View windows.

2 3 4 5

34 BANDSTAND

1. Preset Name. Displays the name of the selected Preset. This name is modifiable by clicking directly in the name field. 2. Drop-down Menu. For selecting other Presets. 3. New Preset. Clicking this button empties all of the cells and resets values so that you can begin to create a new Preset from scratch. 4. Save Preset. Use this button to save all settings in a Preset. 5. Delete Preset. Deletes the selected Preset from the drop-down list. 6. Play Window Button. Clicking this selects the Play View window below. 7. Mix Window Button. Clicking this selects the Mix View window below. 8. Options. Allows you to change settings for a Preset (see Options section in the Appendix for further details).

9.1 Options button

Clicking on the Options button takes you to the Options window, where you can adjust BANDSTANDs user settings. Two menus are available via tabs at the top of the Options window:

General Options
This is the window you see when you first click the Options button. It is where you choose your general user settings for the software. Solo Mode. Choose between In Place, where only one instrument is played in solo (the others are muted), and Latch, where you can switch several instruments into solo mode. Velocity curve. Set BANDSTANDs velocity response to suit your playing style and keyboard controller. Choose from Neutral (default), Soft 1, Soft 2, Soft 3, Hard 1, Hard 2 or Hard 3. Library Path. This displays where your BANDSTAND Library is located. If you want to move your library to another disk, you will have to use the Browse button to the right of the path to select your new path. Ignore Program Changes After First Note. When enabled, this stops BANDSTAND from making channel program changes after a MIDI file has started to play.

BANDSTAND 35

 Ignore Mixer Settings After First Note. When enabled, this stops BANDSTAND from making adjustments to mixer settings after a MIDI file has started to play. DFD Buffer Size. Adjusts the size of the buffer that is transferred by the Direct From Disk streaming process (a system that allows you to play large samples beyond available RAM). This value has an optimum which has to be found for your personal system.

Current Preset
This is where you can enable or disable MIDI filters to suit the requirements of an individual Preset. The following settings are stored within the Preset. Program Changes. Enables BANDSTAND to perform program changes requested by a loaded MIDI file. Mixer Settings. Enables BANDSTAND to recognize and act upon the following Mixer parameter settings: Volume, Pan, Reverb Send, Chorus send, EQ settings. Performance Settings. Enables BANDSTAND to recognize and act upon data for the following Performance settings: Pitch Bend, After Touch, Expression, Portamento on/off, Portamento Time, Mono Mode, Pitch Bend Sensitivity, Hold, Sustenuto, Soft, Transpose, Tune, Scale, Humanize, Quantize. Sound Settings. Enables BANDSTAND to recognize and act upon the following Continuous Control data: Attack, Decay, Release; Cutoff, Resonance; Vibrato Rate, Depth, Delay; Drum EQ settings; Drum Compressor settings. Global Settings. Enables BANDSTAND to recognize and act upon changes to the following Global settings: Master Volume, Master Transpose, Master Tune. Effect Settings. Enables BANDSTAND to recognize and act upon the following data: Reverb settings, Chorus settings, Master EQ settings, Master Limiter settings. System Reset. Restores BANDSTAND to its default settings after a MIDI file has finished playing.

36 BANDSTAND

9.2 Channel Cell

The Play View window contains 16 cells. You can assign an instrument to a cell by clicking on it in the Instrument Browser and dragging it to the cell. Each cell has three buttons, each with a specific function: X. Empties the cell. S. Mutes all of the other cells so that the cell can be heard in solo. M. Mutes the cell so all of the other cells can be heard without it.

9.3 Instrument Browser

The Instrument Browser is where you select instruments to load into the cells. The instruments are divided into 16 different categories, split into two groups of 8 banks (1-8 and 9-16). The banks are illustrated by instrument icons. Bank 1, for example, is Pianos, while Banks 3, 4 and 5 are Organs, Guitars and Bass instruments respectively. To the left of the main browser area is a selection of buttons and displays:

1-8 Button

This button selects Instrument Banks 1-8 as shown above.

BANDSTAND 37

9-16 Button

This button selects Banks 9-16 as shown in the following picture.

Drumkits

BANDSTAND has 9 special drumkits covering all musical styles. Drumkits can only be loaded into a Channel 10 cell. Clicking the Drumkits button reveals banks of drumkits that can be loaded into the Channel 10 cell.

Channel Display

This displays the MIDI channel number of a selected cell or instrument.

38 BANDSTAND

Play

Clicking this button auditions a selected instrument by playing a sample melody to give you an impression of the sound without having to load it into a cell.

Autoplay

If this button is selected, instruments can be auditioned automatically by clicking on them in the Browser.

9.4 Quick Edit Bar

The Quick Edit Bar is where you can adjust the parameters for an instrument in a single cell or all of the cells. To adjust a parameter for all cells, select the far right button with all of the cells highlighted. To adjust for one cell only, select the second button from the right. New values can also be entered via keyboard after double-clicking on an existing value in a cell. Now well look at some of the Quick Edit Bar buttons in detail: Important: Please note that the Pitch, Microtune, Scale and Slide functions do not work for Channel 10 as this channel is used for drums.

Pitch

Adjusts the overall pitch of an instrument or Preset by transposition (-48 to +48 semitones) or fine tuning (100 cents, where 100 cents = 1 semitone).

BANDSTAND 39

To adjust an instruments pitch, click the Pitch button and use the mouse arrow in the cell to make an adjustment in semitones (Transp.) or cents (Finetune).

Tune

Clicking this button reveals a scale-based micro tuning module used for setting the key and tuning for a chosen instrument or all of the instruments.

To change the key, click on the key in the top half of a cell (usually C as default) and scroll to the new key.

To change the tuning system used for a cell, click on the current system displayed in the bottom half of the cell and scroll to the one you want. The following options are given: Equal Temperament (default for most presets), Pure, Overtone 16-32, Pythag (Mid), Pythag (Up), Mean Tone 1/4, Silbermann, Werckmeister III, Kirnberger III, Neidhardt I, Valotti and Young. Please find details about the different tunings in chapter 21 Tuning tables

40 BANDSTAND

Flat Sharp Scale

Determines the scaling of the keyboard notes for the instrument in a selected cell.

The default scale is Chromatic, but you can also choose from: Major, Natural Minor, Harmonic Minor, Melodic Minor, Dorian, Phrygian, Lydian, Mixolydian, Locrian, Whole Tone, Diminished, Octatonic, Pentatonic Maj, Pentatonic Min, Blues, Messiaen III, Messiaen IV, Messiaen V, Messiaen VI, Messiaen VII, Lydian b7, Locrian #9, Major-Minor. Please find details in chapter 22 Scale Types.

Slide

Clicking on this allows two parameters to be modified: Portamento Time (0127) and Pitch Bend Sensitivity (0-24). These can be set by adjusting the upper and lower settings shown in the cell respectively. Portamento is a smooth, continuous glide from one note to another, rather than a discrete change (or series of discrete changes) from the first note to the next. Pitch Bend Sensitivity scales the Pitch Bend range.

BANDSTAND 41

Humanize

The Humanize button can be used to add a slight randomization (humanization) to the timing, velocity values, tuning and loudness of incoming MIDI notes. The parameters can be selected in the top half of a chosen cell after clicking on the button:

The amount of humanizing can be adjusted for each parameter in the Value area in the lower half of the cell:

Quantize

You can use this to time-correct notes by forcing them to the nearest point on a selectable grid. The default setting is Off, but you can choose from Bar, 1/2, 1/4, 1/8, 1/8T, 1/16. 1/16T, 1/32 and 1/32T. T stands for triplet quantisation.

42 BANDSTAND

The amount of quantization can be adjusted in the second line in the cell:

MIDI Input

Use this button to select the MIDI channel(s) for an instrument or Preset. Channels 1-16 and Omni (all channels) are available. This feature is very useful if you want to play identical melodies with different instruments.

BANDSTAND 43

You can also choose between a polyphonic or monophonic instrument (some synth leads and basses, for example, sound better in monophonic mode):

Edit One Cell

There are two small buttons to the right of the Quick Edit bar. To make Quick Edit adjustments to one cell only, click the button on the left.

44 BANDSTAND

Edit All Cells

To adjust a parameter for all of the cells, select the small button on the right.

9.5 Virtual Keyboard

BANDSTAND has a 5 octave virtual keyboard which can be used to trigger notes on selected instruments.

Pitch Bend and Mod Wheel

BANDSTAND responds to Pitch Bend (Pitch Bend Sensitivity is defined in the Quick Edit Bar) and Modulation control data and you will see the softwares virtual Pitch and Modulation wheels respond if you move the corresponding controls on your hardware controller. You can also adjust them with your mouse.

Transpose

You can transpose the keyboard range (-3 octaves to +3 octaves) by clicking the arrows underneath the Pitch and Mod wheels. BANDSTAND 45

10 Mix View

The Mix View window displays all 16 channels in a mixer-style format. Each channel has the following controls:

10.1 Instrument Selection

A slot for selecting a channels instrument using a drop-down menu.

46 BANDSTAND

10.2 EQ Presets

A drop-down menu offers 10 different EQ presets that can be used to enhance an instruments sound or make it sit more comfortably within a mix.

10.3 Chorus

Adjusts the amount of chorus effect applied to the channel.

10.4 Reverb

Adjusts the amount of reverb effect applied to the channel.

BANDSTAND 47

10.5 Volume

A horizontal slider adjusts the volume level for the channel. The level is displayed in the background.

10.6 Pan

Sets the L-R stereo positioning of the channels instrument in the mix.

10.7 Solo/Mute Buttons

A channels Solo (S) button isolates its audio output by muting the other channels. In the Options screen, you can choose between two solo modes: Latch or In Place. If In Place is selected, only one instrument can be soloed at a time, while if Latch is selected, multiple instruments can be soloed. When activated, a Solo button is lit, as in the example above.

A channels Mute (M) button silences an instrument so you can hear all of the other instruments play without it. Mute only affects the instrument being muted.

48 BANDSTAND

11 Master Section
The Master Section is where you can adjust the overall volume of BANDSTANDs output and apply effects such as Chorus, Reverb, EQ and Limiting. Each effect has an On/Off button on the left and an Edit button on the right.

11.1 Chorus
Chorus is a thickening effect created by taking an audio signal and mixing it with two or more delayed or detuned copies of itself. It is great for creating thick, creamy sounds, although too much chorus can result in a lack of clarity.

BANDSTANDs Chorus section offers a selection of user-editable effects, all created by LFO (low frequency oscillator) modulation. These are accessed via a drop-down menu.

BANDSTAND 49

Three adjustable parameters are accessible via the Chorus sections Edit button: Rate. Adjusts the speed of the LFO effect. Depth. Adjusts the amount of LFO modulation. Low values produce subtle effects, while high values can produce extreme chorusing effects. Mix. Adjusts the blend of dry (untreated) and wet (treated) sound.

11.2 Reverb

A reverb unit simulates reflections that occur when a sound plays in a natural acoustic space. This effect can be used to add depth and spaciousness to a sound. BANDSTANDs Reverb section has presets for Small Room, Medium Room, Large Room, Medium Hall, Large Hall and Plate.

Three adjustable parameters can be accessed by clicking the Reverb sections Edit button: 50 BANDSTAND

 Type. Selects the type of reverb; Basic (a conventional reverb effective and RAM-friendly) or Real (a convolution reverb highly realistic, but it requires a lot of RAM!). Time. Determines how long the reverberation lasts. Mix. Adjusts the blend of dry (untreated) and wet (treated) sound.

11.3 EQ

An Equalizer (EQ) is a filter that can cut (decrease) or boost (increase) the amount of specific frequencies in the audio spectrum. BANDSTAND has an onboard Master EQ unit for optimizing the frequencies in your mix. A selection of useful presets is available via a drop-down menu.

BANDSTAND 51

BANDSTANDs Master EQ is particularly useful because it allows you to adjust the entire frequency range within one graphic interface, accessed by clicking the Edit button. The graphic interface has three circled points along the frequency curve. These can be used to represent Low, Mid and High frequency ranges. Clicking on one of these points and dragging it up or down can raise or lower the level of that frequency. You can also move the points horizontally to boost or cut other frequencies. In addition, there are 3 knobs for adjusting a selected point: Freq. Determines the chosen frequency to be boosted or cut. Q. Bandwidth - determines the width of the frequency band around the selected frequency. Gain. For applying a boost or cut to the selected frequency.

11.4 Limiter

A Limiter is a mastering tool which restricts dynamics to an absolute level. An extreme form of compression, it is great for making quiet components in a mix louder, while restricting loud components to an optimum level. It is a useful tool that can change a relatively meek demo track into a confident, polished mix! BANDSTANDs Limiter has a threshold level fixed to 0db, so when the signal exceeds 0db the limiter becomes active the difference between 0db and the signal level is limited.

52 BANDSTAND

BANDSTANDs Limiter has a range of useful presets and these can be user-adjusted by clicking on the Edit button and changing the following parameters: In. The input level of the Limiter (+15 dB max.). Rel. The time required by the Limiter to release the effect. Att. The level of Attenuation (difference between 0db and incoming signal level) is displayed. Out. The Limiters maximum output level.

11.5 Volume

The Master Volume section is where you can use a vertical slider to adjust the overall volume of BANDSTANDs output. The section also has a Panic (!) BANDSTAND 53

button which can stop all currently sounding notes if too many of them causes the software to freeze up.

Clicking the Edit button on the right opens up a new window displaying a range of viewable and adjustable parameters: Master Transpose Lets you transpose a whole BANDSTAND ensemble 24 semitones. Master Tune. For making fine adjustments to your overall tuning. CPU. Displays the amount of computer processing power used by BANDSTAND. Hard Disc.: Shows the amount of BANDSTANDs hard disk access. Voices. Shows the number of voices (notes) being used at any one time. Max Voices. Shows the total number of voices that can be used (maximum 256). A lower Max Voice setting can be used to reduce the CPU load. Memory Usage. Displays the amount of memory being used by BANDSTAND. Optimize Memory. Click this button, play your song (or notes), and click the button again to remove all of the samples youre not using from memory. Its a great RAM saver! By pressing the button again it returns to its initial state and BANDSTAND reloads all samples.

54 BANDSTAND

12 MIDI File Player

BANDSTAND has its own onboard MIDI File Player. These are its controls:

12.1 Load icon

For loading MIDI Files into the Player. Clicking on it brings up a window for you to select a MIDI file. When youve found the file you want to use, doubleclick on its name to load it into the player.

12.2 Render To Audio icon

Click this icon and your MIDI song will be rendered to a 16 bit wav or aiff audio file on your hard drive.

12.3 Program Changes/ Mixer Settings On/ Off Icon

Click this icon and your MIDI song will not accept program and mixer settings. (The Button is linked to the functionalities in the Options Menu ) This feature is useful if you want to play back the imported MIDI file using the preset settings you've loaded before.

BANDSTAND 55

12.4 Tempo Display/Control

Displays the MIDI File tempo in Beats Per Minute.

Click on the Up or Down tempo arrows with your mouse to raise or lower the tempo.

12.5 Time Display

Displays the time elapsed during MIDI file play.

12.6 Start Button

Click this button to go to the beginning of the MIDI file performance.

12.7 Play Button

Click this button to play the loaded MIDI file. Click again to pause the song, and then again to continue playback.

56 BANDSTAND

12.8 Loop Button

Click this button to make the MIDI file repeat itself when it reaches the end of the performance.

13 MIDI Automation
Automation can be described as the ability to record, play back and edit the movements of a music softwares knobs, sliders and buttons. This is achieved via Continuous Controller (CC) parameter change messages. A number of systems, including GM1, GM2, GS, XG and Hyper Canvas (HQ), employ these messages and BANDSTAND provides a comprehensive compatibility with all of these systems. BANDSTAND also has extra parameters added to control elements of its own special interface.

13.1 Hardware and software controllers

The most important thing you need to automate BANDSTAND (or any other controllable music software device) is a hardware controller. This can be either a dedicated controller, or a MIDI keyboard with Continuous Controller knobs/sliders. You can also automate BANDSTAND using a CC editor in a software sequencer. In order to automate a BANDSTAND instrument channel, you need to set your controller to the same MIDI channel as the instrument channel. If you are unsure of an instruments MIDI channel, click on its cell with your mouse and then click the MIDI Input button in the Quick Edit bar. The channel number will appear in the cell. Most MIDI hardware controllers come with templates for the aforementioned parameter systems. Some parameters are common to different systems. For example, GM, GS and XG all use CC#7 and CC#10 to control Volume and Pan respectively. As mentioned earlier, you can also use a software sequencer editor to create and edit MIDI controller events. For example, Logics Hyper Editor allows graphic input and editing of CC data. Cubase SX, Digital Performer and Sonar

BANDSTAND 57

also have editors where you can perform these tasks. See your sequencers manual for precise details on how to do this. Important: If you import a Type 0 MIDI file into most sequencers, it will only show up as a single track, even though it contains all of the instrument parts. For this type of MIDI file, youll have to split the track up into its component parts within your sequencer in order to use them with BANDSTAND. Refer to your sequencers manual on how to do this.

13.2 How to automate BANDSTAND

Heres a basic example explaining how to produce a melody that moves across the stereo spectrum using a hardware controller: Stage 1. Set up BANDSTAND as a multi-channel instrument within your sequencer (see the BANDSTAND as a Plug-in section and/or your host sequencers manual). Stage 2. Load an instrument into BANDSTANDs Channel 1 and make sure it is set to the same MIDI channel as your controller. Stage 3. Record a melodic passage into your sequencer using the selected instrument. Stage 4. Set your hardware controller so that one of the knobs/sliders is transmitting CC#10 data on the same MIDI channel. (See your hardware controllers manual) Stage 5. Create another track in your sequencer set to the same MIDI channel number you have been using. Stage 6. Set your sequencer into Record mode again and, while your melody is playing, move the knob/slider on your controller to adjust the stereo positioning. Stage 7. When youve finished recording, play back your sequence and you should hear the music move across the speakers just as it did when you recorded the CC#10 data. You have just automated BANDSTAND! Stage 8. Save your music and Pan data as a single MIDI file and then load this into BANDSTANDs MIDI Player to produce the same automation effect without a sequencer. This is perhaps the most intuitive way to enter such data, as you can hear whats going on while you move the hardware controllers knob or slider. 58 BANDSTAND

However, another great way to input MIDI data is with a sequencers CC editor. Heres how to programme a similar panning sequence with just BANDSTAND and a sequencer: Stage 1. Set up BANDSTAND as a multi-channel instrument within your sequencer (see the BANDSTAND as a Plug-in section and/or your host sequencers manual) and load BANDSTAND. Stage 2. Load an instrument into BANDSTANDs Channel 1 and make sure it is set to the same MIDI channel as your sequencer track. Stage 3. Record a melodic passage into your sequencer track using the selected instrument. Stage 4. Create another track in your sequencer set to the same MIDI channel number you have been using. Insert a blank region the same length as your melodic passage. Stage 5. Open your sequencers CC editor and input some CC#10 events across the blank region (consult your sequencers manual for details on how to do this). The more events you use, the smoother the panning effect. Stage 6. Now you have to give the events values. A CC value can be anything between 0 and 127. The lowest value pans the sound over to the left speaker, while the highest pans it to the right. A value of around 64 will pan the sound to the middle (coming out of both speakers at the same volume). Stage 7. When youve finished inserting and editing the events, play back your sequence and you should hear the music move across the speakers. If youre not happy with the result, you can always go back into the CC editor and change the events. Stage 8. Save your music and Pan data as a single MIDI file and then load this into BANDSTANDs MIDI Player to produce the same automation effect without a sequencer. You can apply the above procedures to any other automatable parameter and thus record changes in volumes, modulation or anything else you want within a BANDSTAND arrangement.

13.3 Envelopes and filters

Although envelope and filter parameters are not visible in BANDSTANDs interface, they do exist and can be automated in the same way as similar parameters on a plug-in synthesizer. CC#74, for example, can control a BANDSTAND synths filter cut-off frequency, while CC#71 adjusts the amount BANDSTAND 59

of resonance. Envelope controls such as Attack, Decay and Release can be automated with CC#73, CC#75 and CC#72 respectively. In addition to the standard systems already mentioned, BANDSTAND also responds to a range of other RPNs (Registered Parameter Numbers) and NRPNs (Non-Registered Parameter Numbers). Turn to the Appendix section at the end of the manual to see a comprehensive list of automatable parameters for BANDSTAND.

14 The Sound Library

Bandstand includes 128 high quality instruments plus 9 drumkits based on samples from 9 acclaimed sample developers. The instruments were selected from the best available sample libraries and meticulously edited and fine tuned to comply to the general midi standard. All samples and instruments were provided by the following companies: Peter Siedlaczek and

www.esoundz.com

www.bigfishaudio.com

www.bestservice.de

www.soundwarrior.com

www.sound-ideas.com

www.modo-bierkamp.de

www.thebadroom.de

www.northstarsamples.com

www.native-instruments.com

For a detailed list of instruments, including their sources, please view the following list:

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15 Appendix I - Presets
15.1 Instrument Presets (1 64)
# 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 Instrument Name: 001 Piano 1 002 Piano 2 003 Piano 3 004 Honky-tonk 005 E_Piano 1 006 E_Piano 2 007 Harpsichord 1 008 Clav 009 Celesta 010 Glockenspiel 011 Music Box 012 Vibraphone 013 Marimba 014 Xylophone 015 Tubular-bell 016 Santur 017 Organ 1 018 Organ 2 019 Organ 3 020 Church 1 021 Reed Organ 022 Accordion F 023 Harmonica 024 Bandneon 025 Nylon Gt 026 Steel-str Gt 027 Jazz Gt 028 Clean Gt 029 Muted Gt Producer: Native Instruments Native Instruments Sonic Reality Sonic Reality Sonic Reality Native Instruments Northstar Native Instruments Sonic Reality Peter Siedlaczek / Best Service Native Instruments Sonic Reality Sonic Reality Sonic Reality Peter Siedlaczek / Best Service Sonic Reality Northstar Sonic Reality Sonic Reality Sonic Reality Native Instruments Sonic Reality Sonic Reality Sonic Reality The Badroom Sonic Reality Sonic Reality Native Instruments Sonic Reality

BANDSTAND 61

30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64

030 Overdrive Gt 031 DistortionGt 032 Gt Harmonics 033 Acoustic Bs 034 Fingered Bs 035 Picked Bass 036 Fretless Bs 037 Slap Bass 1 038 Slap Bass 2 039 Synth Bass 1 040 Synth Bass 2 041 Violin 042 Viola 043 Cello 044 Contrabass 045 Tremolo Str 046 PizzicatoStr 047 Harp 048 Timpani 049 Strings 050 Slow Strings 051 Syn_Strings1 052 Syn_Strings2 053 Choir Aahs 054 Voice Oohs 055 SynVox 056 Orchestrahit 057 Trumpet 058 Trombone 059 Tuba 060 Mt Trumpet 061 French Horns 062 Brass 1 063 SynthBrass 1 064 SynthBrass 2

Native Instruments Native Instruments Native Instruments The Badroom Modo Bierkamp Modo Bierkamp Sonic Reality Modo Bierkamp Modo Bierkamp Sonic Reality Native Instruments Peter Siedlaczek / Best Service Peter Siedlaczek / Best Service Peter Siedlaczek / Best Service Big Fish Sonic Reality Peter Siedlaczek / Best Service Northstar Native Instruments Peter Siedlaczek / Best Service Sonic Reality Sonic Reality Native Instruments Sonic Reality The Badroom Sonic Reality Peter Siedlaczek / Best Service Big Fish Big Fish Peter Siedlaczek / Best Service Big Fish Big Fish Peter Siedlaczek / Best Service Native Instruments Native Instruments

62 BANDSTAND

15.2 Instrument Presets (65 128)

# 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 Instrument Name: 065 Soprano Sax 066 Alto Sax 067 Tenor Sax 068 Bariton Sax 069 Oboe 070 EnglishHorn 071 Bassoon 072 Clarinet 073 Piccolo 074 Flute 075 Recorder 076 Pan Flute 077 Bottle Blow 078 Shakuhachi 079 Whistle 080 Ocarina 081 Square Wave 082 Saw Wave 083 Syn_Calliope 084 Chiffer Lead 085 Charang 086 Solo Vox 087 5th SawWave 088 Bass & Lead 089 Fantasia 090 Warm Pad 091 Polysynth 092 SpaceVoice 093 BowedGlass 094 Metal Pad 095 Halo Pad 096 Sweep Pad 097 Ice Rain Producer: Big Fish Sonic Reality Big Fish Big Fish Peter Siedlaczek / Best Service Peter Siedlaczek / Best Service Peter Siedlaczek / Best Service Peter Siedlaczek / Best Service Peter Siedlaczek / Best Service Peter Siedlaczek / Best Service Native Instruments Sonic Reality Sonic Reality Sound Warrior Sonic Reality Sonic Reality Native Instruments Native Instruments Native Instruments Native Instruments Native Instruments Native Instruments Native Instruments Native Instruments Sonic Reality Sonic Reality Native Instruments Native Instruments Sonic Reality Native Instruments Sonic Reality Native Instruments Native Instruments

BANDSTAND 63

98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128

098 Soundtrack 099 Crystal 100 Atmosphere 101 Brightness 102 Goblin 103 Echo Drops 104 Star Theme 105 Sitar 106 Banjo 107 Shamisen 108 Koto 109 Kalimba 110 Bag Pipe 111 Fiddle 112 Shanai 113 Tinkle Bell 114 Agogo 115 Steel Drums 116 Woodblock 117 Taiko 118 Melo Tom 1 119 Synth Drum 120 Reverse Cym 121 GtFret Noise 122 Breath Noise 123 Seashore 124 Bird Tweet 125 Telephone 126 Helicopter 127 Applause 128 Gunshot

Sonic Reality Sonic Reality Native Instruments Sonic Reality Native Instruments Native Instruments Native Instruments Sonic Reality Sonic Reality Sonic Reality Sonic Reality Native Instruments Sound Warrior Sound Warrior Sound Warrior Peter Siedlaczek / Best Service Sonic Reality Sound Warrior Native Instruments Sonic Reality Native Instruments Native Instruments Sonic Reality Sonic Reality Sonic Reality Sound Ideas Sound Ideas Sound Ideas Sound Ideas Sound Ideas Sound Ideas

64 BANDSTAND

15.3 Drumkits
# 1 2 3 4 5 6 7 8 9 Drumkit Name: 001 Standard Set 009 Room Set 017 Power Set 025 Electric Set 026 Analog Set 033 Jazz Set 041 Brush Set 049 Orchestra Set 057 SFX Set Producer Native Instruments Native Instruments Native Instruments Sonic Reality Sonic Reality Native Instruments Native Instruments Native Instruments Native Instruments & Sound Ideas

16 Appendix II Common CC# Parameters

Abbreviations
n = MIDI channel number : 0H-FH (ch.1-ch.16) mm = upper byte of value or parameter number ll = lower byte of value or parameter number vv = value GM = General MIDI Standard GM2 = General MIDI 2 Standard GS = Roland GM Extension (Virtual Sound Canvas) XG = Yamaha GM Extention HQ = Edirol HyperCanvas Extension NI = Native Instruments BANDSTAND Extension grey = not supported by BANDSTAND

BANDSTAND 65

16.1 Instruments
System GS/XG/GM2 GM GS/XG/GM2 GS/XG/GM2 GS/XG/GM GS/XG/GM GS/XG/GM GS/XG/GM GS/XG/GM2 GS/XG/GM2 XG/GM2 XG/GM2 XG/GM2 XG/GM2 XG/GM2 GM2 GM2 GM2 GM2 GS/XG GS/XG/GM2 GS/XG/GM2 GS/XG XG XG GS/XG/GM2 GS/XG/GM2 GS/XG/GM2 GS/XG/GM2 GS/XG/GM2 GS/XG/GM GS/XG/GM GS/XG/GM2 GS/XG/GM2 GS/XG/GM2 GS/XG/GM2 GS/XG/GM2 GS/XG/GM2 CC# 0 / 32 1 5 6 / 38 7 10 11 64 65 66 67 71 72 73 74 75 76 77 78 84 91 93 94 96 87 98 99 100 101 120 121 123 124 125 126 127 Value mmH llH mmH mmH mmH llH mmH mmH mmH vvH vvH vvH vvH vvH vvH vvH vvH vvH vvH vvH vvH vvH vvH vvH vvH vvH vvH vvH vvH vvH vvH 0 0 0 0 0 1 0 Parameter Bank SelectmmH: 00H - 7FH (HQ/GS), 0/64/126/127 (XG)llH: 00H (HQ/GS), 00H - FFH (XG) Modulation Wheel Portamento Time Data Entry Channel Volume Pan Expression Sustain Portamento On/Off Sustenuto Soft Pedal Resonance (relative: 64H = original value) Release Time (relative: 64H = original value) Attack Time (relative: 64H = original value) Cutoff (relative: 64H = original value) Decay Time (relative: 64H = original value) Vibrato Rate (relative: 64H = original value) Vibrato Depth (relative: 64H = original value) Vibrato Delay (relative: 64H = original value) Portamento Control (GS/XG) Reverb Send Chorus Send Delay (GS) / Variation (XG) Send RPN Increment RPN Decrement NRPN LSB NRPN MSB RPN LSB RPN MSB All Sounds Off Reset All Controllers All Notes Off Omni Mode Off = 123 Omni Mode On = 123 Mono Mode On Poly Mode On Note On/ Off Pitch Bend

66 BANDSTAND

GS/XG/GM2 GS/XG/GM2

Program Change Channel Aftertouch

16.2 Drum Instruments

System GS/XG GS/XG/GM2 GS/XG/GM GS/XG/GM GS/XG/GM GS/XG/GM2 GS/XG/GM2 GS/XG GS/XG/GM2 GS/XG/GM2 GS/XG/GM2 GS/XG/GM GS/XG/GM GS/XG/GM2 GS/XG/GM2 GS/XG/GM2 GS/XG/GM2 CC# 0 / 32 6 / 38 7 10 11 91 93 94 98 99 120 121 123 124 125 Parameter Bank Select mmH: 00H - 7FH (HQ/GS), mmH llH 0/64/126/127 (XG) llH: 00H (HQ/GS), 00H - FFH (XG) mmH llH Data Entry mmH Channel Volume mmH Panpot mmH Expression vvH Reverb Send vvH Chorus Send vvH Delay (GS) / Variation (XG) Send vvH NRPN LSB vvH NRPN MSB 0 All Sounds Off 0 Reset All Controllers 0 All Notes Off 0 Omni Mode Off = 123 0 Omni Mode On = 123 Note On/ Off Program Change Value

BANDSTAND 67

17 Appendix III Other Parameters

17.1 Instruments
RPN MSB LSB 00H 00H Data entry MSB LSB Explanation Pitch Bend Sensitivity mm: 00H-18H (0-24 semitones), Initial Value = 02H (2 semitones) ll: ignored (processed as 00H) specify up to 2 octaves in semitone steps Master Fine Tuning mm, ll: 00 00H - 40 00H - 7F 7FH (-100 - 0 - +99.99 cents), Initial Value = 40 00H (0 cent) Refer to Supplementary material, About tuning. Master Coarse Tuning mm: 30H-40H-70H (-48 - 0 - +48 semitones), Initial Value = 40H (0 semitone) ll: ignored (processed as 00H) Modulation Depth Range mm, ll: 00 00H - 06 00H (0.0 - 600.0 cent) 00H-7FH (0 - 100 cents) 100/128 Cent/Value RPN null Set condition where RPN and NRPN are unspecified. The data entry messages after set RPN null will be ignored. (No Data entry messages are required after RPN null). Settings already made will not change. mm, ll: ignored

GS/XG/GM

mmH ---

GS/XG/GM

00H 01H

mmH llH

GS/XG/GM

00H 02H

mmH ---

GM2

00H 05H

mmH llH

GS/XG/GM2

7FH 7FH

--- ---

68 BANDSTAND

NRPN MSB LSB GS/XG GS/XG GS/XG GS/XG GS/XG XG XG XG XG XG XG XG XG XG XG XG GS/XG GS/XG GS/XG NI NI 01H 08H 01H 09H 01H 0AH 01H 20H 01H 21H 01H 24H 01H 25H 01H 30H 01H 31H 01H 32H 01H 33H 01H 34H 01H 35H 01H 36H 01H 37H 01H 38H - 01H 3FH 01H 63H 01H 64H 01H 66H 02H xxH - 09H xxH 58H 00H

Data entry MSB

Explanation Vibrato rate (relative change on specified channel) mm: 00H-40H-7FH (-64 - 0 - +63) Vibrato depth (relative change on specified channel) mm: 00H-40H-7FH (-64 - 0 - +63) Vibrato delay (relative change on specified channel) mm: 00H-40H-7FH (-64 - 0 - +63) TVF Cutoff Frequency (relative change) mm: 00H-40H-7FH (-64 - 0 - +63) TVF Cutoff Resonance (relative change) mm: 00H-40H-7FH (-64 - 0 - +63) HPF Cutoff Frequency mm: 00H-40H-7FH(64-0-+63) HPF Resonance (reserved) mm: 00H-40H-7FH(64-0-+63) EQ BASS Gain (absolute for NI) mm:00H-40H-7FH(64-0-+63) EQ TREBLE Gain (absolute for NI) mm:00H-40H-7FH(64-0-+63) EQ MID-BASS Gain (reserved) (absolute for NI) mm:00H-40H-7FH(64-0-+63) EQ MID-TREBLE (reserved) mm: 00H-40H-7FH(64-0-+63) EQ BASS Frequency (absolute for NI) mm:00H-40H-7FH(64-0-+63) EQ TREBLE Frequency (absolute for NI) mm:00H-40H-7FH(64-0-+63) EQ MID-BASS Frequency(reserved) (absolute for NI) mm:00H-40H-7FH(64-0-+63) EQ MID-TREBLE Frequency(reserved) mm: 00H-40H-7FH(64-0-+63)** reserved for EQ ** TVF&TVA Envelope Attack Time (relative change) mm: 00H-40H-7FH (-64 - 0 - +63) TVF&TVA Envelope Decay Time (relative change) mm: 00H-40H-7FH (-64 - 0 - +63) TVF&TVA Envelope Release Time (relative change) mm: 00H-40H-7FH (-64 - 0 - +63) Instrument Edit Extensions Extensions

mmH mmH mmH mmH mmH mmH mmH mmH mmH mmH mmH mmH mmH mmH mmH mmH mmH mmH mmH mmH

BANDSTAND 69

HQ NI NI NI

58H 01H 58H 02H 58H 03H 58H 04H

mmH mmH mmH mmH

NI

58H 05H

mmH

NI

58H 06H

mmH

NI

58H 07H

mmH

NI NI

58H 08H 58H 09H 58H 0AH 58H 0BH

mmH mmH mmH mmH mmH mmH mmH mmH mmH mmH mmH mmH mmH

NI NI NI NI NI HQ NI HQ NI

58H 0CH 58H 0DH 58H 0EH 58H 0FH 58H 10H - 58H 1FH 58H 20H 58H 21H 58H 22H 58H 23H

Charactor (absolute change) mm: 1CH-40H-64H (-36 - 0 - +36) Extensions Extensions Microtuning base note (C B) mmH: (0 11) Microtuning Type (Equal temp, Pure, Otone 16-32, Pyt (Mid), Pyt (Up), Mean T. 1/4, Silberman, Wreckm III, Kirnb III, Neidh I, Valotti, Young) mmH: (0-11) Constrain to Scale Base Note (C B= mmH: (0-11) Constrain to Scale Type (Chroma, Major, Nat. Min, Harm. Min, Mel. Min, Dorian, Phrygian, Lydian, Mixolyd, Locrian, Whole-Tone, Diminished, Octatonic, Penta Maj, Penta Min, Blues, Messian III, Messian IV, Messian V, Messian VI, Messian VII, Lydian b7, Locrian #9, MajorMinor) mmH: (0-23) Input Quantize Value (off, 1/32, 1/16T, 1/16, 1/8T, 1/8, 1/4T, 1/4, 1/2, Bar) mmH: (0-7) Input Quantize Amount mmH: 0 - 100 Extensions Extensions Humanize Timing mmH: 0 - 100 Humanize Velocity mmH: 0 - 100 Humanize Tuning mmH: 0 - 100 Humanize Volume mmH: 0 - 100 Quick Edit extensions Tone control switch (absolute change) mm: 00H-7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON Tone control bass frequency (absolute change) mm: 64 = 80 Hz; 20 Hz - 200 Hz Tone control bass gain (absolute change) mm: 2EH-40H-52H (-18 - 0 - +18) (NI), mm: 34H-40H-4CH (-12 - 0 - +12) (HQ) Tone control bass bandwidth (absolute change) mm: 64 = 2.0 oc; 0.3 oc - 3.0 oc (28 values)

70 BANDSTAND

HQ NI NI HQ

58H 24H 58H 25H 58H 26H 58H 27H

mmH mmH mmH mmH

NI HQ

58H 28H 58H 29H

mmH mmH

NI

NI

HQ

NI

58H 2AH 58H 2BH - 58H 2FH 58H 30H - 58H 3BH 58H 3CH - 58H 3FH

mmH

Tone control treble gain (absolute change) mm: 2EH-40H-52H (-18 - 0 - +18) (NI), mm: 34H-40H-4CH (-12 - 0 - +12) (HQ) Tone control treble frequency (absolute change) mm: 64 = 12 kHz; 2 kHz - 20 kHz Tone control treble bandwidth (absolute change) mm: 69 = 2.5 oc; 0.3 oc - 3.0 oc (28 values) Tone control mid gain (absolute change) mm: 2EH-40H-52H (-18 - 0 - +18) (NI), mm: 34H-40H-4CH (-12 - 0 - +12) (HQ) Tone control mid frequency (absolute change) mm: 64 = 800 Hz; 200 Hz - 2 kHz Tone control mid bandwidth (absolute change) mm: 64 = 2.0 oc; 0.3 oc - 3.0 oc (28 values) Tone control Type (Off, Bass Boost, Exciter, Smoothing, Presence, Low Cut, Mid Boost, Rock, No Mud, Megaphone) mm: (0-9)

mmH

EQ extensions Scale tune C - B mm: 00H-40H-7FH (-64 - 0 - +63 cent)

mmH

mmH

Extensions

BANDSTAND 71

17.2 Drum Instruments

NRPN MSB LSB XG XG XG XG 14H rrH 15H rrH 16H rrH 17H rrH Data entry MSB mmH mmH mmH mmH Explanation Drum Filter Cutoff Frequency mm:00H-40H-7FH(64-0-+63) Drum Filter Resonance mm:00H-40H-7FH(64-0-+63) Drum EG Attack Rate (relative change) mm:00H-40H-7FH(64-0-+63) Drum EG Decay Rate (relative change) mm:00H-40H-7FH(64-0-+63) Pitch coarse of rhythm instrument (relative change) rr: key number of rhythm instrument (21 - 108) mm: 34H - 40H - 4CH (-12 - 0 - +12) (NI), mm: 10H - 40H - 70H (-48 - 0 - +48) (HQ), mm: 00H-40H-7FH(64-0-+63) (GS/XG) Pitch fine of rhythm instrument (relative change) rr: key number of rhythm instrument (21 - 108) mm: 0EH-40H-72H (-50 - 0 - 50) (HQ), mm: 00H-40H-7FH(64-0-+63) (XG) Rhythm instrument level (relative change) rr: key number of rhythm instrument mm: 00H-7FH (0 - 200 percent) (GM2), mm: 00H-7FH (0-Max) (GS/XG) Panpot of rhythm instrument (absolute change) rr: key number of rhythm instrument mm: 00H-40H-7FH (left-center-right) (GM2), mm: 01H-40H-7FH (Left-Center-Right) (GS), mm: 00H-40H-7FH (Random,L-Center-R) (XG) Reverb send level of rhythm instrument (absolute change) rr: key number of rhythm instrument mm: 00H-7FH (zero-maximum) Chorus send level of drum instrument (absolute change) rr: key number of drum instrument mm: 00H-7FH (zero-maximum) Drum Variation Send Level (XG) Drum Delay Send Level (GS) mm:00H-7FH(0-Max) Drum HPF Cutoff Frequency mm:00H-40H-7FH(64-0-+63) Drum HPF Resonance (reserved) mm:00H-40H-7FH(64-0-+63) Drum Compressor on/off mm: 00H-7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON

GS/XG/ HQ

18H rrH

mmH

XG/HQ

19H rrH

mmH

GS/XG/ GM2

1AH rrH

mmH

GS/XG/ GM2

1CH rrH

mmH

GS/XG/ GM2 GS/XG/ GM2 GS/XG XG XG NI

1DH rrH

mmH

1EH rrH

mmH

1FH rrH 24H rrH 25H rrH 28H rrH

mmH mmH mmH mmH

72 BANDSTAND

NRPN MSB LSB NI NI NI NI NI NI NI XG XG XG XG XG XG XG XG NI NI 29H rrH 2AH rrH 2BH rrH 2CH rrH 2DH rrH 2EH rrH 2FH rrH 30H rrH 31H rrH 32H rrH 33H rrH 34H rrH 35H rrH 36H rrH 37H rrH 38H rrH 3EH rrH

NI

3FH rrH

Data entry Explanation MSB Drum Compressor Type (None, Control, Limiter, Popper, Pumper, Severe, Smooth, Subtle, Tight, Slam) mmH mm: (0-9) Drum Compressor Threshold mmH mm: -50dB - -3dB (0-127) Drum Compressor Ratio mmH mm: 1:1 20:1 (0-127) Drum Compressor Attack mmH mm: 1 ms 500 ms (0-127) Drum Compressor Release mmH mm: 50 ms (0-127) Drum Compressor Output Gain mmH mm: - 100 dB 16 dB (0 127) mmH Comprssor Extension Drum EQ BASS (-18dB - 0 - +18dB) mmH mm:00H-40H-7FH(64-0-+63) Drum EQ TREBLE mmH mm:00H-40H-7FH(64-0-+63) Drum EQ MID-BASS (reserved) mmH mm:00H-40H-7FH(64-0-+63) Drum EQ MID-TREBLE mmH (reserved) mm:00H-40H-7FH(64-0-+63) Drum EQ BASS Frequency (20 Hz 20 kHz) mmH mm:00H-40H-7FH(64-0-+63) Drum EQ TREBLE Frequency mmH mm:00H-40H-7FH(64-0-+63) Drum EQ MID-BASS Freq.(reserved) mmH mm:00H-40H-7FH(64-0-+63) Drum EQ MID-TREBLE Freq.(reserved) mmH mm:00H-40H-7FH(64-0-+63) Drum EQ BASS Bandwidth mmH mm: 64 = 2.0 oc; 0.3 oc - 3.0 oc (28 values) Drum EQ on/off mmH mm: 00H-7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON Drum EQ Type mm: None, Kick Enhancer, Snare Enhancer, Cymbal Enhancer, High Boost, High Reduction, Mid Boost, Mid mmH Reduction, Bass Boost, Bass Reduction mm: (0-9) mmH mmH reserved for EQ Drum VELOCITY PITCH SENS. mm:00H-0FH(0-15)

XG XG

38H rrH 3FH rrH 40H rrH

BANDSTAND 73

NRPN MSB LSB XG XG XG XG XG XG XG XG XG XG 41H rrH 01H 30H 01H 31H 01H 32H 01H 33H 01H 34H 01H 35H 01H 36H 01H 37H 01H 38H - 01H 3FH 58H 08H 58H 09H 58H 0AH 58H 0BH NI NI NI NI NI HQ NI 58H 0CH 58H 0DH 58H 0EH 58H 0FH 58H 10H58H 1FH 58H 20H 58H 21H

Data entry Explanation MSB Drum VELOCITY LPF CUTOFF SENS. mmH mm:00H-0FH(0-15) EQ BASS Gain (absolute for NI) mmH mm:00H-40H-7FH(64-0-+63) EQ TREBLE Gain (absolute for NI) mmH mm:00H-40H-7FH(64-0-+63) EQ MID-BASS (reserved) (absolute for NI) mmH mm:00H-40H-7FH(64-0-+63) EQ MID-TREBLE (reserved) mmH mm:00H-40H-7FH(64-0-+63) EQ BASS Frequency (absolute for NI) mmH mm:00H-40H-7FH(64-0-+63) EQ TREBLE Frequency (absolute for NI) mmH mm:00H-40H-7FH(64-0-+63) EQ MID-BASS Frequency(reserved) (absolute for NI) mmH mm:00H-40H-7FH(64-0-+63) EQ MID-TREBLE Frequency(reserved) mmH mm:00H-40H-7FH(64-0-+63) mmH reserved for EQ ** Input Quantize Value (off, 1/32, 1/16T, 1/16, 1/8T, 1/8, 1/4T, 1/4, 1/2, Bar) mmH: (0-9) Input Quantize Amount mmH: 0 - 100 Extensions Extensions Humanize Timing mmH: 0 - 100 Humanize Velocity mmH: 0 - 100 Humanize Tuning mmH: 0 - 100 Humanize Volume mmH: 0 - 100 Quick Edit extensions Tone control switch (absolute change) mm: 00H-7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON Tone control bass frequency (absolute change) mm: 64 = 80 Hz; 20 Hz - 200 Hz

NI NI

mmH mmH mmH mmH mmH mmH mmH mmH mmH mmH mmH

74 BANDSTAND

HQ NI HQ NI NI HQ NI HQ

58H 22H 58H 23H 58H 24H 58H 25H 58H 26H 58H 27H 58H 28H 58H 29H

mmH mmH mmH mmH mmH mmH mmH mmH

NI

58H 2AH

mmH

Tone control bass gain (absolute change) mm: 2EH-40H-52H (-18 - 0 - +18) (NI), mm: 34H-40H-4CH (-12 - 0 - +12) (HQ) Tone control bass bandwidth (absolute change) mm: 64 = 2.0 oc; 0.3 oc - 3.0 oc (28 values) Tone control treble gain (absolute change) mm: 2EH-40H-52H (-18 - 0 - +18) (NI), mm: 34H-40H-4CH (-12 - 0 - +12) (HQ) Tone control treble frequency (absolute change) mm: 64 = 12 kHz; 2 kHz - 20 kHz Tone control treble bandwidth (absolute change) mm: 69 = 2.5 oc; 0.3 oc - 3.0 oc (28 values) Tone control mid gain (absolute change) mm: 2EH-40H-52H (-18 - 0 - +18) (NI), mm: 34H-40H-4CH (-12 - 0 - +12) (HQ) Tone control mid frequency (absolute change) mm: 64 = 800 Hz; 200 Hz - 2 kHz Tone control mid bandwidth (absolute change) mm: 64 = 2.0 oc; 0.3 oc - 3.0 oc (28 values) Tone control Type (Off, Bass Boost, Exciter, Smoothing, Presence, Low Cut, Mid Boost, Rock, No Mud, Megaphone) mm: (0-9)

BANDSTAND 75

17.3 Master
NRPN MSB LSB GM2 58H 40H Data entry MSB mmH Explanation Reverb switch mm: 00H-7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON * Sets the reverb settings regardless of the channel on which its received. Reverb type mm: 00H-08H (00H = Small Room, 01H = Medium Room, 02H = Large Room, 03H = Medium Hall, 04H = Large Hall, 08H = Plate) * Sets the reverb settings regardless of the channel on which its received. Reverb time mm: 00H-7FH (0 - 127) * Sets the reverb settings regardless of the channel on which its received. Reverb Return mm: 0 - 127 Extensions Chorus switch mm: 00H-7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON * Sets the chorus settings regardless of the channel on which its received. Chorus type mm: 00H-05H (00H = Chorus1, 01H = Chorus2, 02H = Chorus3, 03H = Chorus4, 04H = FB Chorus, 05H = Flanger) * Sets the chorus settings regardless of the channel on which its received. Chorus rate mm: 00H-7FH (0 - 127) * Sets the chorus settings regardless of the channel on which its received. Chorus depth mm: 00H-7FH (0 - 127) * Sets the chorus settings regardless of the channel on which its received. Chorus feedback mm: 00H-7FH (0 - 127) * Sets the chorus settings regardless of the channel on which its received.

GM2

58H 41H

mmH

GM2

58H 42H

mmH

NI NI

58H 43H 58H 44H - 58H 4FH 58H 50H

mmH mmH

GM2

mmH

GM2

58H 51H

mmH

GM2

58H 52H

mmH

GM2

58H 53H

mmH

GM2

58H 54H

mmH

76 BANDSTAND

GM2

58H 55H

mmH

NI NI

58H 56H 58H 57H - 58H 5FH 58H 60H - 58H 6FH 58H 70H

mmH mmH

Chorus send to reverb mm: 00H-7FH (0 - 127) * Sets the chorus settings regardless of the channel on which its received. Chorus return mm: 0 - 127 Extensions

NI

mmH

Reserverd for Variarion/Delay effect Master volume mm: 00H-7FH (zero-maximum) * Sets the master volume regardless of the channel on which its received. Master tuning mm, ll: 00 00H-40 00H-7F 7FH (-100 - 0 - +99.99 cent) * Sets the master tuning regardless of the channel on which its received. Master key shift mm: 28H-40H-58H (-24 - 0 - +24) * Sets the master key shift regardless of the channel on which its received. Extensions System reset mm: ignore * Resets the synth to the initial state regardless of the channel on which its received. Master EQ on/off mm: 00H-7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON Master EQ type mm: HiFi, Radio EQ, High Cut, Low Cut, Mid Boost, Loudness, Bass Boost, High Boost, Mid Cut, Off; mm: (0-9) Master EQ bass frequency mm: 64 = 80 Hz; 20 Hz - 200 Hz Master EQ bass bandwidth mm: 64 = 2.0 oc; 0.3 oc - 3.0 oc (28 values) Master EQ bass gain mm: 2EH-40H-52H (-18 - 0 - +18) Master EQ mid frequency mm: 64 = 800 Hz; 200 Hz - 2 kHz

GM2

mmH

GM2

58H 71H

mmH llH

GM2

58H 72H 58H 73H - 58H 7EH 58H 7FH

mmH

NI

mmH

GM2

mmH

NI

59H 00H

mmH

NI

59H 01H

mmH

NI NI NI NI

59H 02H 59H 03H 59H 04H 59H 05H

mmH mmH mmH mmH

BANDSTAND 77

NI NI NI NI NI NI NI NI NI NI NI NI

59H 06H 59H 07H 59H 08H 59H 09H 59H 0AH 59H 0BH - 59H 0FH 59H 10H 59H 11H 59H 12H 59H 13H 59H 14H 59H 15H - 59H 1FH 59H 20H - 59H 2FH

mmH mmH mmH mmH mmH mmH mmH mmH mmH mmH mmH mmH

Master EQ mid bandwidth mm: 64 = 2.0 oc; 0.3 oc - 3.0 oc (28 values) Master EQ mid gain mm: 2EH-40H-52H (-18 - 0 - +18) Master EQ treble frequency mm: 64 = 6,4 kHz; 2 kHz - 20 kHz Master EQ treble bandwidth mm: 69 = 2.5 oc; 0.3 oc - 3.0 oc (28 values) Master EQ treble gain mm: 2EH-40H-52H (-18 - 0 - +18) Extensions Master Limiter on/off mm: 00H-7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON Master Limiter type Master Limiter input gain 0 - 127 Master Limiter release Master Limiter output gain 0 - 127 Extensions

NI

mmH

Reserverd for insertion effect 2 (XG)

78 BANDSTAND

18 Appendix IV MIDI Implementation

Function ... Default Basic Channel Changed Default Mode Messages Altered Note Number True voice Note ON Velocity Note OFF Keys After Touch Chs Pitch Bend 0, 32 1 5 6, 38 7 10 11 64 65 66 67 71 Control Change 72 73 74 75 76 77 78 91 93 98, 99 100, 101 True # Transmitted x x x x ******* x ******* x x x x x x x x x x x x x x x x x x x x x x x x x x x x x ******* Recognized 1-16 1-16 Mode 3 Mode 3, 4 (M = 1) 0-127 0-127 o x x o *1 o x *2 o *1 *3 o *3 o *3 o *3 o *3 o *3 o *3 o *3 o *3 o *3 o *3 *4 o *3 *4 o *3 *4 o *3 *4 o *3 *4 o *3 *4 o *3 *4 o *3 *4 o (Reverb) *3 o (Chorus) *3 o *3 o *3 o *3 0-127 Remarks Reconized as M=1 even if M not equal to 1 Bank select Modulation Portamento time Data entry Volume Panpot Expression Hold1 Portamento Sostenuto Soft Resonance Release Time Attack Time Cutoff Decay Time Vibrato Rate Vibrato Depth Vibrato Delay General purpose effects 1 General purpose effects 3 NRPN LSB, MSB RPN LSB, MSB Prog.1-128

Program Change

BANDSTAND 79

System Exclusive Song Pos System Common Song Sel Tune System Real Time Clock Commands All Sounds OFF Reset All Controllers Local ON/OFF All Notes OFF Active Sensing System Reset

x x x x x x x x x x x x

x *5 x x x x x o (120, 126, 127) o x o (123-125) x o *5

Aux Messages

Notes:
*1 Depends on the instrument programming *2 Variations ignored; main instruments are selected instead *3 o x is selectable *4 Also implemented as NRPNs for GS/XG compatibility *5 Implemented as NRPNs for plug-in compatibility Mode 1 : OMNI ON, POLY Mode 2 : OMNI ON, MONO Mode 3 : OMNI OFF, POLY Mode 4 : OMNI OFF, MONO o : Yes x : No

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19 Appendix V Hotkeys
Main Navigation
F1 F2 F3 F5 F6 F7 F8 Play View Switch Category Pages Mix View Chorus on/off Reverb on/off EQ on/off Limiter on/off

All views
Ctrl + N Ctrl + S Cursor up Cursor down Alt + F4 / CMD + Q New Preset / System Reset Save Preset Increase master volume Decrease master volume Close BANDSTAND

Play View
Cursor left Cursor right Load previous instrument into active channel Load next instrument

MIDI File Player

Page up Page down Pos1 / Pad Space / Enter Space / Pad 0 End / Pad Increase tempo Decrease tempo Reset Play Stop Activate Loop

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20 Appendix VI Tuning Tables

20.1 Pure Tunings
Pure
Note C C#/Db D D#/Eb E F F#/Gb G G#/Ab A A#/Bb B C frequency ratio 1/1 25/24 9/8 6/5 5/4 4/3 25/18 3/2 8/5 5/3 9/5 15/8 2/1 deviation from equal tempered 0 cent - 29.328 cent + 3.910 cent + 15.641 cent - 13.686 cent - 1.955 cent - 31.283 cent + 1.955 cent + 13.686 cent - 15.641 cent + 17.596 cent - 11.731 cent 0 cent

Overtones 16-32
All intervals are taken from the fifth octave of the harmonic series (i.e. the scale is made up from the overtones 16 17 18 19 20 21 22 24 26 27 28 30 32).

20.2 Pythagorean Tunings

Pythagorean tunings are based on pure fifths, two alternatives are available:

Pythag. Mid:
Five pure fifths are tuned down and up from C, F#/Gb is deliberately set to 0 cent.

Pythag. (Up):
11 pure fifths are tuned upwards from C to E#:

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20.3 Meantone temperaments

Mean Tone (1/4)
Classic mean tone temperament: the syntonic comma (sC) is divided into four equal parts, this fourth comma is subtracted from the pure fifth and constitutes the mean tone fifth. The fifths Eb-Bb-F-C-G-D-A-E are tuned as mean tone fifths, the thirds A-C#, D-F#, E-G# and G-B are tuned pure.

Silbermann (1/6)

Tuning from Georg Silbermann (1683 - 1753) used in the late baroque for church organs: the syntonic comma is divided by six (3.584 cent); all fifths downwards from C to Db and all fifths upwards from C to F# are lowered by 1/6 of the syntonic comma.

20.4 Well-temperaments
Werckmeister III
Temperament by Andreas Werckmeister (1645 - 1706), dating from 1691: the fifths C-G-D-A and B-F# are lowered by a quarter of the pythagorean comma.

Kirnberger III

Temperament by Johann Philipp Kirnberger (1721-1783), dating from 1779. The fifths C-G-D-A-E are lowered by a quarter of the syntonic comma, the fifth F# - C# is lowered by the schism, the remaining fifths are pure.

Neidhardt I

Temperament by Johann Georg Neidhardt, dating from 1724. The fifths C-G-D-A-E are lowered by a 1/6 of the pythagorean comma, the fifths E-B, B-F#, G#-D# and Eb-Bb are lowered by 1/12 comma, the fifths F#-C#, C#-G#, Bb-F and F-C remain pure.

Valotti

Temperament by Francesco Antonio Valotti, dating from 1754. The pythagorean comma is distributed over the fifths F-C-G-D-A-E-B; each of these fifths is lowered by 1/6 of the pythagorean comma.

Young

Temperament by Thomas Young from 1800, sometimes referred to as Young II. The pythagorean comma is distributed over the fifths C-G-D-A-E-H-F#; each of these fifths is lowered by 1/6 of the pythagorean comma BANDSTAND 83

21 Appendix VII Scale Types

This overview gives you the scale types based on C used in the Harmonizer and Constrain to Scale script:

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22 Getting Help The About Screen

If you cant find out the reason for a problem, NATIVE INSTRUMENTS provides extensive help to registered users. The relevant links are gathered by clicking on the product logo in the upper left-hand corner of any NI Software. This opens the About screen.

22.1 Knowledge Base / Readme / Online Support

Choose the support tab of the About Screen to find a series of buttons directly leading you to the NATIVE INSTRUMENTS Online Knowledge Base and to the Online Support frontend. The frontend will ask you for all information about your hardware and software environment, to better facilitate the information to our support team. The entries you make are cookied, so they should be automatically be reproduced when you enter a second support request. In your communication with the support team, keep in mind that you should offer as much information as possible about your hardware, your operating system and the version of the software you are running, to give the possibility to help you. In your description, you should mention: How to reproduce the problem What have you already done to try to fix the problem A description of your setup, including all hardware The brand and specs of your computer Important: Always consult the Readme file of a new software version. It contains important information and all last minute changes, that werent available when printing this manual.

22.2 Updates
Whenever you encounter problems, you should also check if you have installed the latest update. The version number of your software is displayed on the first page of the About dialog. Updates are released regularly to fix known problems and to constantly improve the software. You can find a link to check for the latest update in the About dialog/ Support tab, in the Readme file, or by checking on www.native-instruments.com.

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Index
A About Screen............................ 85 ASIO........................................ 22 AU........................................... 22 Audio + MIDI Settings................ 24 Audio Interface.......................... 24 Audio Interfaces........................ 20 Audio Unit plug-in Installation..... 19 Audio Units......................... 22, 28 Authorization............................... 7 Authorization Key. ........................ 7 Autoplay................................... 39 C Cell.......................................... 44 Channel Cell. ............................. 37 Chorus. ................................47, 49 Complete button........................ 11 controllers................................. 57 Core Audio................................ 22 Cubase..................................... 27 Current Preset........................... 36 D Delete Preset. ............................ 35 Depth....................................... 50 Digital Performer....................... 29 DirectSound.............................. 22 Disk......................................... 54 DXi 2. ................................. 22, 32 DXi 2 plug-in Setup. ................... 17 E Effect Settings.......................... 36 Envelopes................................. 59 EQ Presets................................ 47 Equalizer. .................................. 51 F Fill Out Form button. .................. 14 lters. ....................................... 59 G Garage Band............................. 31 General Options......................... 35 Global Settings.......................... 36 H Hardware.................................. 57 Humanize. ................................. 42 I Ignore Mixer Settings................. 36 Ignore Program Changes............. 35 Installation under MacOS X......... 18 Installation under Windows XP. .... 16 Instrument Browser.................... 37 Instrument Selection.................. 46 Interface................................... 25 K Keyboard.................................. 45 Knowledge Base........................ 85 L Latency.................................... 23 Library Path.............................. 35 Limiter. ..................................... 52 Logic........................................ 28 Loop Button.............................. 57

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M Master...................................... 49 Master EQ. ................................ 52 mastering. ................................. 52 Master Transpose. ...................... 54 Master Tune.............................. 54 Master Volume. .......................... 53 Max Voices. ............................... 54 Memory Usage.......................... 54 MIDI. ........................................ 26 MIDI Automation. ....................... 57 MIDI File Player......................... 55 MIDI Input................................ 43 MIDI interface........................... 26 Mix. .......................................... 50 Mixer Settings........................... 36 Mix View................................... 46 Mix Window Button.................... 35 MME........................................ 22 Mod Wheel. ............................... 45 N New Preset............................... 35 O Online Support.......................... 85 Open File button. ....................... 13 Optimize Memory. ...................... 54 Options. .................................... 35 Options button. .......................... 35 Output Device........................... 25 Output Latency. ......................... 25 P Pan.......................................... 48 Performance Settings................. 36 Pitch........................................ 39 Pitch Bend................................ 45 Play. ......................................... 39 Play Button............................... 56

Play View.................................. 34 Play Window Button................... 35 Plug-In............................... 20, 27 Preset Name............................. 35 presets..................................... 50 Product Authorization................... 7 Program Changes. ...................... 36 Pro Tools. .................................. 33 Q Quantize................................... 42 Quick Edit Bar........................... 39 R Rate......................................... 50 Readme.................................... 85 Register Now............................... 9 Registration support................... 16 Registration Tool.......................... 7 Render To Audio........................ 55 Reverb.................................47, 50 Routing. .................................... 26 RTAS. ................................. 22, 24 RTAS plug-in installation. ...... 18, 19 S Sample rate. .............................. 25 Save Preset............................... 35 Save Registration File................. 12 Scale. ....................................... 41 sequencer................................. 57 Slide........................................ 41 Solo/Mute................................. 48 Solo Mode. ................................ 35 Sonar....................................... 32 Soundcard................................ 24 Sound Settings.......................... 36 Stand-alone Application. ............. 20 Standalone. ............................... 24 Start Button.............................. 56

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System ID................................... 7 System Requirements. .......... 16, 18 System Reset............................ 36 T Tempo...................................... 56 Time Display............................. 56 Transpose................................. 45 Tune. ........................................ 40 U Updates. ................................... 85 V Velocity curve............................ 35 Volume............................... 48, 53 VST.......................................... 22 VST 2.0 Plug-In......................... 27 VST plug-in Installation. .............. 17 W What is the Product Authorization? 7

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