BANDSTAND Manual English

Transcription

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.
User’s 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
BANDSTAND – III
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
12MIDI 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
13MIDI Automation..................................................................................... 57
13.1 Hardware and software controllers..................................................... 57
13.2 How to automate BANDSTAND.......................................................... 58
13.3 Envelopes and filters ....................................................................... 59
14The Sound Library................................................................................... 60
15Appendix 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
18Appendix IV – MIDI Implementation.......................................................... 79
19Appendix V – Hotkeys.............................................................................. 81
20Appendix 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
22Getting 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 BANDSTAND’s
parameters can be automated by a hardware controller or MIDI sequencer
and these automations can be recorded.
But that’s not all – BANDSTAND allows you to audition all of its sounds without
having to load them into RAM. There’s also an Optimize Memory function
which can remove samples you’re 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
It’s been said that the definition of “power user” is someone who reads the
manual. It’s also been said that musicians don’t 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 we’d 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 you’re 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.
– BANDSTAND
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.
– BANDSTAND
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
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.
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).
folder (default path: Applications\Bandstand)
• A click on the Fill Out Form button opens a local HTML file in the
operating system’s 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 Straße 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.
• 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
• 512 MB 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 only Audio Unit from the list of components to install.
5.4 RTAS plug-in installation
• Launch the BANDSTAND Installer from the DVD
• 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 computer’s 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. BANDSTAND’s
audio and MIDI connections interact directly with your computer’s 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 computer’s hardware interface. BANDSTAND
connects to the host program via “virtual patch cords.” BANDSTAND’s audio
outputs appear as signals in the host’s mixer, and the host passes MIDI data
to BANDSTAND.
We’ll describe each mode in detail, but first let’s 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
Windows
MacOS X
•
ASIO 2.0
•
DirectSound
•
MME
•
Core Audio
•
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
VST 2.0 Plug-in
DXi
Audio Units
Cubase, Nuendo
Sonar
Logic
Windows
•
Mac
•
•
•
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) you’re 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 Mac’s
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 today’s computers
and low-latency sound card drivers, this delay can be so small that you can’t
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. It’s 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. You’ll 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 you’ll 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. BANDSTAND’s 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
BANDSTAND’s output just like any other existing audio track in
Logic.
• If the BANDSTAND interface is not already open, double click on the
mixer’s 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
for the Mac platform for more assistance on setting this up.
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.
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 Performer’s 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
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. BANDSTAND’s 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.
• Make sure that the instruments track output is correctly set.
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
through Sonar’s 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.
• Make sure that the instruments track output is correctly set.
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
BANDSTAND’s 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
BANDSTAND’s 16-track GM player. Beneath the cells is an Instrument Browser
which allows easy access to all of BANDSTAND’s 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.
1
34 – BANDSTAND
2 3 4 5
6
7
8
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 BANDSTAND’s 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 BANDSTAND’s 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 we’ll 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 instrument’s 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 software’s 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 channel’s 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 instrument’s 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 channel’s instrument in the mix.
10.7 Solo/Mute Buttons
A channel’s 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 channel’s 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 BANDSTAND’s
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.
BANDSTAND’s 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 section’s 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.
BANDSTAND’s 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 section’s
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
BANDSTAND’s 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!
BANDSTAND’s 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
BANDSTAND’s 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 Limiter’s maximum output level.
11.5 Volume
The Master Volume section is where you can use a vertical slider to adjust
the overall volume of BANDSTAND’s 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 BANDSTAND‘s 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 you’re not using from
memory. It’s 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 you’ve 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 software’s 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 instrument’s 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, Logic’s 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 sequencer’s
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, you’ll have to split the
track up into its component parts within your sequencer in order to
use them with BANDSTAND. Refer to your sequencer’s manual on how
to do this.
13.2 How to automate BANDSTAND
Here’s 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
sequencer’s manual).
• Stage 2. Load an instrument into BANDSTAND’s 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
controller’s 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 you’ve 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 BANDSTAND’s 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
what’s going on while you move the hardware controller’s knob or slider.
58 – BANDSTAND
However, another great way to input MIDI data is with a sequencer’s CC editor.
Here’s 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
sequencer’s manual) and load BANDSTAND.
• Stage 2. Load an instrument into BANDSTAND’s 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 sequencer’s CC editor and input some CC#10 events
across the blank region (consult your sequencer’s 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 you’ve finished inserting and editing the events, play
back your sequence and you should hear the music move across the
speakers. If you’re 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 BANDSTAND’s 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 BANDSTAND’s
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 synth’s 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:
60 – BANDSTAND
15 Appendix I - Presets
15.1 Instrument Presets (1 – 64)
#
Instrument Name:
Producer:
1
001 Piano 1
Native Instruments
2
002 Piano 2
Native Instruments
3
003 Piano 3
Sonic Reality
4
004 Honky-tonk
Sonic Reality
5
005 E_Piano 1
Sonic Reality
6
006 E_Piano 2
Native Instruments
7
007 Harpsichord 1
Northstar
8
008 Clav
Native Instruments
9
009 Celesta
Sonic Reality
10
010 Glockenspiel
Peter Siedlaczek / Best Service
11
011 Music Box
Native Instruments
12
012 Vibraphone
Sonic Reality
13
013 Marimba
Sonic Reality
14
014 Xylophone
Sonic Reality
15
015 Tubular-bell
16
016 Santur
Sonic Reality
17
017 Organ 1
Northstar
18
018 Organ 2
Sonic Reality
19
019 Organ 3
Sonic Reality
20
020 Church 1
Sonic Reality
21
021 Reed Organ
Native Instruments
22
022 Accordion F
Sonic Reality
23
023 Harmonica
Sonic Reality
24
024 Bandneon
Sonic Reality
25
025 Nylon Gt
The Badroom
26
026 Steel-str Gt
Sonic Reality
27
027 Jazz Gt
Sonic Reality
28
028 Clean Gt
Native Instruments
29
029 Muted Gt
Sonic Reality
BANDSTAND – 61
30
030 Overdrive Gt
Native Instruments
31
031 DistortionGt
Native Instruments
32
032 Gt Harmonics
Native Instruments
33
033 Acoustic Bs
The Badroom
34
034 Fingered Bs
Modo Bierkamp
35
035 Picked Bass
Modo Bierkamp
36
036 Fretless Bs
Sonic Reality
37
037 Slap Bass 1
Modo Bierkamp
38
038 Slap Bass 2
Modo Bierkamp
39
039 Synth Bass 1
Sonic Reality
40
040 Synth Bass 2
Native Instruments
41
041 Violin
42
042 Viola
43
043 Cello
44
044 Contrabass
Big Fish
45
045 Tremolo Str
Sonic Reality
46
046 PizzicatoStr
47
047 Harp
Northstar
48
048 Timpani
Native Instruments
49
049 Strings
50
050 Slow Strings
Sonic Reality
51
051 Syn_Strings1
Sonic Reality
52
052 Syn_Strings2
Native Instruments
53
053 Choir Aahs
Sonic Reality
54
054 Voice Oohs
The Badroom
55
055 SynVox
Sonic Reality
56
056 Orchestrahit
57
057 Trumpet
Big Fish
58
058 Trombone
Big Fish
59
059 Tuba
60
060 Mt Trumpet
Big Fish
61
061 French Horns
Big Fish
62
062 Brass 1
63
063 SynthBrass 1
Native Instruments
64
064 SynthBrass 2
Native Instruments
62 – BANDSTAND
15.2 Instrument Presets (65 – 128)
#
Instrument Name:
Producer:
65
065 Soprano Sax
Big Fish
66
066 Alto Sax
Sonic Reality
67
067 Tenor Sax
Big Fish
68
068 Bariton Sax
Big Fish
69
069 Oboe
70
070 EnglishHorn
71
071 Bassoon
72
072 Clarinet
73
073 Piccolo
74
074 Flute
75
075 Recorder
Native Instruments
76
076 Pan Flute
Sonic Reality
77
077 Bottle Blow
Sonic Reality
78
078 Shakuhachi
Sound Warrior
79
079 Whistle
Sonic Reality
80
080 Ocarina
Sonic Reality
81
081 Square Wave
Native Instruments
82
082 Saw Wave
Native Instruments
83
083 Syn_Calliope
Native Instruments
84
084 Chiffer Lead
Native Instruments
85
085 Charang
Native Instruments
86
086 Solo Vox
Native Instruments
87
087 5th SawWave
Native Instruments
88
088 Bass & Lead
Native Instruments
89
089 Fantasia
Sonic Reality
90
090 Warm Pad
Sonic Reality
91
091 Polysynth
Native Instruments
92
092 SpaceVoice
Native Instruments
93
093 BowedGlass
Sonic Reality
94
094 Metal Pad
Native Instruments
95
095 Halo Pad
Sonic Reality
96
096 Sweep Pad
Native Instruments
97
097 Ice Rain
Native Instruments
BANDSTAND – 63
98
098 Soundtrack
Sonic Reality
99
099 Crystal
Sonic Reality
100
100 Atmosphere
Native Instruments
101
101 Brightness
Sonic Reality
102
102 Goblin
Native Instruments
103
103 Echo Drops
Native Instruments
104
104 Star Theme
Native Instruments
105
105 Sitar
Sonic Reality
106
106 Banjo
Sonic Reality
107
107 Shamisen
Sonic Reality
108
108 Koto
Sonic Reality
109
109 Kalimba
Native Instruments
110
110 Bag Pipe
Sound Warrior
111
111 Fiddle
Sound Warrior
112
112 Shanai
Sound Warrior
113
113 Tinkle Bell
114
114 Agogo
Sonic Reality
115
115 Steel Drums
Sound Warrior
116
116 Woodblock
Native Instruments
117
117 Taiko
Sonic Reality
118
118 Melo Tom 1
Native Instruments
119
119 Synth Drum
Native Instruments
120
120 Reverse Cym
Sonic Reality
121
121 GtFret Noise
Sonic Reality
122
122 Breath Noise
Sonic Reality
123
123 Seashore
Sound Ideas
124
124 Bird Tweet
Sound Ideas
125
125 Telephone
Sound Ideas
126
126 Helicopter
Sound Ideas
127
127 Applause
Sound Ideas
128
128 Gunshot
Sound Ideas
64 – BANDSTAND
15.3 Drumkits
#
Drumkit Name:
Producer
1
001 Standard Set
Native Instruments
2
009 Room Set
Native Instruments
3
017 Power Set
Native Instruments
4
025 Electric Set
Sonic Reality
5
026 Analog Set
Sonic Reality
6
033 Jazz Set
Native Instruments
7
041 Brush Set
Native Instruments
8
049 Orchestra Set
Native Instruments
9
057 SFX Set
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
CC#
Value
GS/XG/GM2
0 / 32
mmH llH
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
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
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
66 – BANDSTAND
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
GS/XG/GM2
GS/XG/GM2
Program Change
Channel Aftertouch
16.2 Drum Instruments
System
CC#
GS/XG
0 / 32
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
6 / 38
7
10
11
91
93
94
98
99
120
121
123
124
125
Value
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
BANDSTAND – 67
17 Appendix III – Other Parameters
17.1 Instruments
RPN
MSB
LSB
Data entry
MSB LSB
GS/XG/GM
00H
00H
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
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
NRPN
MSB LSB
Data
entry
MSB
GS/XG
01H 08H
GS/XG
01H 09H
mmH
GS/XG
01H 0AH
mmH
GS/XG
01H 20H
mmH
GS/XG
01H 21H
mmH
XG
01H 24H
mmH
XG
01H 25H
mmH
XG
01H 30H
mmH
XG
01H 31H
mmH
XG
01H 32H
mmH
XG
01H 33H
mmH
XG
01H 34H
mmH
XG
01H 35H
mmH
XG
01H 36H
mmH
XG
01H 37H
mmH
XG
01H 38H
- 01H
3FH
mmH
GS/XG
01H 63H
mmH
GS/XG
01H 64H
mmH
GS/XG
01H 66H
mmH
NI
NI
02H xxH
- 09H xxH
58H 00H
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)
mmH
Instrument Edit Extensions
mmH
Extensions
BANDSTAND – 69
HQ
58H 01H
mmH
NI
NI
58H 02H
58H 03H
mmH
mmH
NI
58H 04H
mmH
NI
58H 05H
mmH
NI
58H 06H
mmH
NI
58H 07H
mmH
NI
58H 08H
mmH
NI
58H 09H
mmH
58H 0AH
58H 0BH
mmH
mmH
NI
58H 0CH
mmH
NI
58H 0DH
mmH
NI
58H 0EH
mmH
NI
58H 0FH
mmH
NI
58H 10H
- 58H
1FH
mmH
HQ
58H 20H
mmH
NI
58H 21H
mmH
HQ
58H 22H
mmH
NI
58H 23H
mmH
70 – BANDSTAND
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)
HQ
58H 24H
mmH
NI
58H 25H
mmH
NI
58H 26H
mmH
HQ
58H 27H
mmH
NI
58H 28H
mmH
HQ
58H 29H
mmH
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
mmH
Scale tune C - B
mm: 00H-40H-7FH (-64 - 0 - +63 cent)
mmH
Extensions
NI
HQ
NI
BANDSTAND – 71
17.2 Drum Instruments
NRPN
MSB LSB
Data entry
MSB
XG
14H rrH
mmH
XG
15H rrH
mmH
XG
16H rrH
mmH
XG
17H rrH
mmH
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
1DH rrH
mmH
GS/XG/
GM2
1EH rrH
mmH
GS/XG
1FH rrH
mmH
XG
24H rrH
mmH
XG
25H rrH
mmH
NI
28H rrH
mmH
72 – BANDSTAND
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)
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)
mm: 00H-7FH (zero-maximum)
Chorus send level of drum instrument (absolute change)
rr: key number of drum instrument
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
NRPN
MSB LSB
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)
NI
29H rrH
NI
2AH rrH
NI
2BH rrH
NI
2CH rrH
NI
2DH rrH
NI
2EH rrH
NI
2FH rrH
XG
30H rrH
XG
31H rrH
XG
32H rrH
XG
33H rrH
XG
34H rrH
XG
35H rrH
XG
36H rrH
XG
37H rrH
NI
38H rrH
NI
3EH rrH
NI
3FH rrH
XG
38H rrH 3FH rrH
mmH
reserved for EQ
XG
40H rrH
mmH
Drum VELOCITY PITCH SENS.
mm:00H-0FH(0-15)
BANDSTAND – 73
NRPN
MSB LSB
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)
XG
41H rrH
XG
01H 30H
XG
01H 31H
XG
01H 32H
XG
01H 33H
XG
01H 34H
XG
01H 35H
XG
01H 36H
XG
01H 37H
XG
01H 38H
- 01H
3FH
mmH
NI
58H 08H
mmH
NI
58H 09H
mmH
58H 0AH
58H 0BH
mmH
mmH
NI
58H 0CH
mmH
NI
58H 0DH
mmH
NI
58H 0EH
mmH
NI
58H 0FH
mmH
NI
58H 10H58H 1FH
mmH
HQ
58H 20H
mmH
NI
58H 21H
mmH
74 – BANDSTAND
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
HQ
58H 22H
mmH
NI
58H 23H
mmH
HQ
58H 24H
mmH
NI
58H 25H
mmH
NI
58H 26H
mmH
HQ
58H 27H
mmH
NI
58H 28H
mmH
HQ
58H 29H
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
Data entry
MSB
GM2
58H 40H
mmH
GM2
58H 41H
mmH
GM2
58H 42H
mmH
NI
58H 43H
mmH
NI
58H 44H
- 58H
4FH
mmH
GM2
58H 50H
mmH
GM2
58H 51H
mmH
GM2
58H 52H
mmH
GM2
58H 53H
mmH
GM2
58H 54H
mmH
76 – BANDSTAND
Explanation
Reverb switch
mm: 00H-7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON
* Sets the reverb settings regardless of the channel on
which it‘s received.
Reverb type
mm: 00H-08H (00H = Small Room, 01H = Medium
Room, 02H = Large Room, 03H = Medium Hall, 04H =
Large Hall, 08H = Plate)
Reverb time
mm: 00H-7FH (0 - 127)
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
Chorus type
mm: 00H-05H (00H = Chorus1, 01H = Chorus2, 02H
= Chorus3, 03H = Chorus4, 04H = FB Chorus, 05H =
Flanger)
Chorus rate
mm: 00H-7FH (0 - 127)
Chorus depth
mm: 00H-7FH (0 - 127)
Chorus feedback
mm: 00H-7FH (0 - 127)
GM2
58H 55H
mmH
NI
58H 56H
mmH
NI
NI
58H 57H
- 58H
5FH
58H 60H
- 58H
6FH
Chorus send to reverb
mm: 00H-7FH (0 - 127)
Chorus return
mm: 0 - 127
mmH
Extensions
mmH
Reserverd for Variarion/Delay effect
GM2
58H 70H
mmH
GM2
58H 71H
mmH llH
GM2
58H 72H
mmH
NI
58H 73H
- 58H
7EH
mmH
GM2
58H 7FH
mmH
NI
59H 00H
mmH
NI
59H 01H
mmH
NI
59H 02H
mmH
NI
59H 03H
mmH
NI
59H 04H
mmH
NI
59H 05H
mmH
Master volume
* Sets the master volume regardless of the channel on
Master tuning
mm, ll: 00 00H-40 00H-7F 7FH (-100 - 0 - +99.99
cent)
* Sets the master tuning regardless of the channel on
Master key shift
mm: 28H-40H-58H (-24 - 0 - +24)
* Sets the master key shift regardless of the channel on
Extensions
System reset
mm: ignore
* Resets the synth to the initial state regardless of the
channel on which it‘s 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
BANDSTAND – 77
NI
59H 06H
mmH
NI
59H 07H
mmH
NI
59H 08H
mmH
NI
59H 09H
mmH
NI
59H 0AH
mmH
NI
59H 0BH
- 59H
0FH
mmH
NI
59H 10H
mmH
NI
59H 11H
mmH
NI
59H 12H
mmH
NI
59H 13H
mmH
NI
59H 14H
mmH
NI
NI
59H 15H
- 59H
1FH
59H 20H
- 59H
2FH
78 – BANDSTAND
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
mmH
Extensions
mmH
Reserverd for insertion effect 2 (XG)
18��
Appendix IV – ��
MIDI Implementation
Function ...
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
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
91
x
o (Reverb) *3
93
x
o (Chorus) *3
98, 99
100, 101
True #
x
x
x
*******
o *3
o *3
o *3
0-127
Default
Basic Channel
Changed
Default
Mode
Messages
Altered
Note Number
True voice
Note ON
Velocity
Note OFF
Key‘s
After Touch
Ch‘s
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
Program Change
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
BANDSTAND – 79
System Exclusive
Song Pos
System Common
Song Sel
Tune
System Real
Time
Clock
Commands
Aux Messages
All Sounds
OFF
Reset All
Controllers
Local ON/OFF
All Notes OFF
Active
Sensing
System Reset
x
x
x
x
x
x
x
x *5
x
x
x
x
x
o (120, 126,
127)
x
o
x
x
x
o (123-125)
x
x
x
o *5
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
80 – BANDSTAND
19��
Appendix V – ��
Hotkeys
Main Navigation
F1
Play View
F2
Switch Category Pages
F3
Mix View
F5
Chorus on/off
F6
Reverb on/off
F7
EQ on/off
F8
Limiter on/off
All views
Ctrl + N
New Preset / System Reset
Ctrl + S
Save Preset
Cursor up
Increase master volume
Cursor down
Decrease master volume
Alt + F4 / CMD + Q
Close BANDSTAND
Play View
Cursor left
Load previous instrument into active channel
Cursor right
Load next instrument
MIDI File Player
Page up
Increase tempo
Page down
Decrease tempo
Pos1 / Pad
Reset
Space / Enter
Play
Space / Pad 0
Stop
End / Pad
Activate Loop
BANDSTAND – 81
20 ��
Appendix VI – ��
Tuning Tables
20.1 Pure Tunings
Pure
Note
frequency ratio
deviation from equal tempered
C
1/1
0 cent
C#/Db
25/24
- 29.328 cent
D
9/8
+ 3.910 cent
D#/Eb
6/5
+ 15.641 cent
E
5/4
- 13.686 cent
F
4/3
- 1.955 cent
F#/Gb
25/18
- 31.283 cent
G
3/2
+ 1.955 cent
G#/Ab
8/5
+ 13.686 cent
A
5/3
- 15.641 cent
A#/Bb
9/5
+ 17.596 cent
B
15/8
- 11.731 cent
C
2/1
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#:
82 – BANDSTAND
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:
84 – BANDSTAND
22��
��
Getting Help – The About Screen
If you can’t 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 weren’t
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.
BANDSTAND – 85
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
86 – BANDSTAND
EQ Presets................................ 47
Equalizer................................... 51
F
Fill Out Form button................... 14
filters........................................ 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
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
BANDSTAND – 87
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
88 – BANDSTAND

BANDSTAND Manual English

Transcription

Similar documents

The Story of My Life C Delancey

Edwin BélangEr a highly colourful favouriTE show for 2012 variETiEs

This past week we reported our fifth consecutive month with positive

Schedule of the CHRISTMAS VILLAGE activities House

the July issue of the Library`s Newsletter

BANDSTAND PROMENADE : THEN AND NOW

VJ SOFTWADE