EWQL Symphonic Orchestra Tutorial

EWQL Symphonic Orchestra Explained®

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16 Videos | Length: 2hr 9min 12sec
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Chapter 1 : PLAY Engine Basics

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    PLAY Setup

    Eli gives an introduction to the PLAY Sample Engine and the basic settings needed for use either in stand alone mode or when hosted within a DAW.

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    PLAY Overview

    In this quick start video you will learn about the relationship between instruments, libraries, articulations, key switches, and samples; and explore the three main views available in PLAY as instruments are loaded in.

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    Main Menu

    Learn how to use the Advanced Instrument Properties to control how the instruments respond to incoming MIDI, and how to manage ram usage by purging unused samples.

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    The Browser View

    Learn how to use the Browser view to manage loaded instruments in the Instrument List, navigate your installed libraries in the System List, create your own virtual folders for instruments you plan on using repeatedly in the Favorites List, and how to specify a libraries directory on your hard drive.

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    Mixer View

    See how this view is used to control the loudness, panning, MIDI channel input, and Audio output channel for each loaded instrument, as well as how to load, mix, and route the audio output from the multiple mic positions available in the Symphonic Orchestra Platinum and Platinum Plus libraries.

Chapter 2 : Quantum Leap Symphonic Orchestra

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    Player View Master Controls

    See how the master controls are used to affect articulation levels positioning, and routing; and manage CPU and memory usage with the Active and Load buttons.

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    Working with Multiple Mics

    Hear how the multiple mic channels provide different sonic perspectives of the instruments on their natural sound stage, and explore one strategy for controlling and blending these multiple mic channels within your DAW.

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    Portamento Script

    Learn how to use and control the portamento script to create a subtle sliding effect between consecutive notes in a phrase.

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    Legato Script

    Hear how the legato script is used to create a more flowing connected and expressive sound for notes in a continuous phrase.

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    Repetition Script & Round Robin Reset

    Hear how the repetition script changes the quality of the notes when a single pitch is played multiple times in succession by randomizing the sample used, the start time, and the tuning. And see how the round robin reset button is used to reset all round robin articulations to the beginning of their cycle in order to ensure consistent playback.

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    Player View Instrument Controls

    Explore the Stereo Doubling, convolution reverb, voice limit, bit depth, and AHDSR parameters and how they influence the playback of the instruments.

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    String Articulations

    Listen to some of the various string articulations available and how they effect the attacks, releases, and transitions between notes in a phrase.

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    Brass & Woodwinds

    Hear some of the long and short articulations available and explore some of the scripts that change articulations based on PLAY's internal timer. The distance between two notes is measured in order to determine if the second note will trigger an alternate articulation.

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    Discover some of the great orchestral percussion sounds available in QLSO, see how they are mapped across the keyboard, and hear a small piece built up using these instruments exclusively.

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    Using Key Switches

    Explore some aspects pertaining to the use and placement of key switch notes in an arrangement that warrant consideration, and how to restrict them from appearing in a part's notation.

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    Automation & Workflow

    Learn how and when to use MIDI volume and MIDI expression, how to use MIDI learn to control PLAY parameters with external hardware, and how to export each of each instrument's three multiple mics as separate audio files.

Product Overview

Orchestral and studio guru Eli Krantzberg returns, bringing you the definitive collection of video tutorials for the amazing EastWest Quantum Leap Symphonic Orchestra virtual instrument. Eli also gives you in-depth videos for the included PLAY Sample Engine that hosts the library, providing complete coverage on this industry-standard sound library / instrument!

Eli begins with several videos covering the PLAY Sample Engine so you know how to set it up for both Stand-Alone Mode and within a DAW. He then explains the relationship between Instruments, Libraries, Articulations, Key Switches and Samples, as well as explores the three Main Views available in PLAY. Moving on, Eli gives you advanced info and tips & tricks for the Main Menu, Browser View and Mixer View, so you have complete control over all of its features and functions.

Next, Eli gets into the Quantum Leap Symphonic Orchestra Library, starting with its Master Controls. He then shows you How to Work with Multiple Mic Channels for different sonic perspectives. Portamento and Legato Scripts are then revealed and you'll see how to use them to create ultra-expressive Phrases. Eli now breaks down the Player View Instrument Controls and String Articulations for even more control and realism.

Brass & Woodwinds and Percussion are then revealed, and Eli explores some of their Scripts and Mappings for alternate Articulations and Layouts. Eli wraps up your orchestral journey with How to Use Key Switches and Automation, as well as Workflow advice./p>

If you're ready to go big and get the most from the industry-standard orchestral library, this series is a must see.. Watch "EastWest Quantum Leap Symphonic Orchestra Explained" today!

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1. When did you start dabbling in music?

I started playing drums in high school at age fourteen. Like most kids my age around then, I was into progressive rock. Genesis, Emerson Lake and Palmer, and Yes. They rocked my world. A few short years later though, my musical life changed. While studying music in college I discovered Charlie Parker, Milt Jackson, Sonny Stitt, and John Coltrane. Milt Jackson spoke to me in such a profound way that it left me no choice but to take up vibraphone.

These great players, along with  drummers like Philly Joe Jones, Max Roach, Art Blakey, and Elvin Jones changed not only the way I thought about drumming, but also music - and by extension, life - as a whole. I realized life was meant to be a creative endeavor. The idea of improvising based on a loose set of guidelines and rules permeated into my psyche even when I wasn't holding a pair of drumsticks or mallets. But if I am going to be perfectly truthful, I have to hold Henry Miller and Woody Allen equally responsible for shaping the way I view and experience the world around me. 

2. What training have you had?

I am currently an Apple certified Logic Pro. Young and cocky, and armed with only a partial University degree, I dropped out of school and  began playing steady commercial hotel engagements and jazz gigs when I could. This went on for many years until I decided it was time to complete my degree - which I ultimately did with a major in Political Science and a minor in music. 

It was at this point that I formed my current band Nightshift. We are going in to our twenty third year now - playing commercial one nighters like weddings, corporate events, etc. Don't turn your nose up at it though - it has allowed me a wonderful quality of life. It gave me the freedom to go back to school and complete a post graduate degree in Communications Studies - all the while supporting myself by playing weddings.

3. When did you get into recording?

It was in this graduate program - in the early nineties - that I found myself drawn to the fledgling emerging universe of hard disc recording and midi sequencing. Based on nothing more than the recommendation of one of my band mates who had an old Atari, I jumped in head first and bought a Mac LC ll, along with a version 1.1 of what was then Notator Logic. I had no idea what I was getting myself into. But, in hindsight, it was a decision of epic importance in my life - shaping my future as much as the music of Milt Jackson and Charlie Parker did fifteen years prior. 

I opened up my own commercial home studio in 1998 and began doing a variety of projects, working on radio jingles, artist CD projects, and whatever came my way. A couple of years later a colleague called me up - desperate. He was working at a post production house and one of the editors had just quit. They were doing audio post for a weekly TV series and needed a Pro Tools editor - and fast! And so, once again, I jumped in head first into what would ultimately open up my world even more - the world of Pro Tools. 

4. People you have worked with/for?

Focusing on Logic, I built up a small but loyal client base and my phone kept ringing for Logic tech support and instruction. Film composers and studio owners all over the city were calling me. Even the music stores were giving out my phone number at this point! This kind of stuff becomes a self fulfilling prophecy. The more of it you do, the more calls you get to keep doing it. At least that's the way it should be!

As my Logic chops kept growing, I was hired by an old buddy of mine, Len Sasso, who was then an associate editor at Electronic Musician magazine, and began writing some columns for them. I had a blast doing them - and really learned to focus and express my thoughts in a concise and clear manner. This lead to a collaboration with LA based composer Terry Michael Huud on the 2006 film called Civic Duty - which was certainly one of the highlights of my professional life as a composer. 

5. Why are you so good at training people?

I wake up every day excited to boot up, and create. Whether it's instructional videos, creating music, working with a studio client, performing with my band, or teaching at the schools - my days are filled with what I love doing. Enriched by the stimulation and creative freedom this modern music making software brings to my life. I bring that excitement and passion to each and every training product I create. My years of experience both using and teaching these programs has taught me the best way to make the user comfortable with these complex programs.

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