LA Scoring Strings

User Guide
VERSION 1.5
For LASS, LASS Lite and LASS First Chair
Copyright 2010
User Guide
NOTE: This manual is to be used for LASS (full) as well as the LASS Lite and LASS First Chair libraries. Although
this manual was originally written for the full version of LASS, the instructions on how to use the different features
apply to all LASS libraries. However, LASS Lite and LASS First Chair do not contain any of the divisi ensemble
patches (A, B, C ensembles), so when there is a divisi discussion it may not pertain to the Lass Lite or First Chair
libraries.
The LA Scoring Strings sample library described herein is supplied under a formal license agreement that you enter into
when using LA Scoring Strings. Please refer to the LASS License Agreement PDF on the LA Scoring Strings DVD install.
The data contained in this users guide only serves for information purposes and may be changed without prior
announcement. The contents, images and information in the users guide does not constitute a legal obligation of
audiobro. audiobro is not responsible for any eventual faulty or inaccurate information contained in the users guide.
The users guide and any parts thereof may not be reproduced or hosted on a website for commercial or any
other use without the prior and explicit written permission of audiobro. All trademarks are acknowledged as the
property of their respective owners.
The entire LA Scoring Strings sample library is based on real player performances and the utmost care was
taken in preserving the human feel of these performances. It is these human elements (natural variances and
imperfections in performance and sound) that create the realistic sound you hear when using LA Scoring Strings.
Any imperfections in sound and performance are to be considered by design and are subject to change only at
audiobros discretion.
2009-2010 audiobro
2
Table of Contents
Table of Contents
User Guide ....................................................................1
Trill Script ......................................................................31
Table of Contents............................................................3
Basic Sustains ..............................................................33
Welcome to LA Scoring Strings ......................................4
Harmonics ....................................................................34
Installation ......................................................................5
Delay and Humanization Script ....................................35
LASS Full Install for Windows (5 DVD set) ..............5
Auto Arranger ...............................................................37
LASS Full Install for Mac OS X (5DVD set) .............5
The Sustain Pedal ..................................................37
6\VWHP6SHFLFDWLRQV ....................................................6
Auto Arranger Basic Edit ...................................38
Instruments and Sections ...............................................7
Auto Arranger Expert Edit..................................39
Continuous Controllers ...................................................8
Set Up Sub-Rules ..................................................40
Patches Overview...........................................................9
CC Table Script.............................................................41
LASS Patches ........................................................ 11
A.M.G. Script ................................................................43
LASS Real Legato Patches .........................................13
Tuning Table Script .......................................................44
Sustain Patches............................................................16
LASS Impulse Responses (IRs) ...................................46
Short Articulation Patches ............................................17
LASS Multis Examples .................................................47
Ensemble Patches........................................................18
LASS Patch Multis: ................................................47
LASS Real Legato Script ..............................................19
LASS IR Multi .........................................................49
The Performance Page ..........................................20
24 Bit and 16 Bit ...........................................................52
Legato Tweak Page be careful on this page!! ...22
Support .........................................................................53
EQ Page ................................................................24
Special Thanks .............................................................54
A.R.T. Auto Rhythm Tool...............................................25

The Rhythm Tool (Repetition Page) .......................26
Anti Repetition Page ..............................................28
EQ Page ................................................................29
Velocity Attenuator Page ........................................30
Welcome to LA Scoring Strings
Welcome to LA Scoring Strings

Thank you for choosing LA Scoring Strings (LASS). I hope you enjoy using this string library as much as I do!! I have
DOZD\VEHHQSDVVLRQDWHDERXWVWULQJVHYHQEHIRUH,HYHUVFRUHGP\UVWRUFKHVWUDOSURMHFW$VDNLG,UHPHPEHUOLVWHQLQJ
to Vivaldis Four Seasons (Winter in particular) and getting goose-bumps. It is amazing to me how a real orchestral string
section can elicit such a wide range of emotions and touch our soul. From horror to euphoria, and everything in between,
strings seem to be able to express any emotion.
I think most composers would agree that there is nothing like a real string section... and I dont think real strings will ever
be replaced. And even though we use sample libraries to do our MIDI mock-ups and check our work, as composers and
arrangers, Id bet that all of you, if given the budget and time, would hire a real string section over using samples in a
heartbeat. I know I would. But with many of todays scoring budgets and schedules, sometimes its just impossible to have
WKHUHDOWKLQJ,WLVP\KRSHWKDWLQWKHVHVLWXDWLRQV\RXOOQGLASS to be the best alternative to live players.
Why did I create this library?
One of the principal reasons I created this library was because I was tired of not being able to write expressive and realistic
string melodies. Intuitive and convincing legato patches were sorely missing from my computers orchestral template.
Also, I was frustrated by the lacking expressive range of the sustains and the poor timing of staccato and spiccato
articulations. I guess you could say that the principal reason I created LASS was out of frustration.
6RDV,VHWRXWWRJXUHRXWKRZ,ZDVJRLQJWRDSSURDFKWKLVOLEUDU\LWEHFDPHREYLRXVWRPHWKDW,VKRXOGIRFXVRQVPDOOHU
divisi ensembles that could be layered to form full sections. This would enable divisi, unison and tutti writing, and all sorts of
options otherwise unavailable to me. Also, by layering, you could ensure more randomness in the different divisis resulting
in a much more natural sounding performance. So as it turns out, LASS is like YHOLEUDULHVLQRQHD)LUVW&KDLUOLEUDU\
1/4 Divisi A, 1/4 Divisi B, 1/2 Divisi C and a Full Section library.
And now, after a long time and tons of editing and programming, LA Scoring Strings is done...but not really. These patches
will evolve and Id like to think of LASS as a Living Library. I will be posting tweaked patches on the www.audiobro.com
LASS forum as I do my own scoring projects and create new patches.
Enjoy...and have fun!!
Andrew Keresztes
Composer / Developer of LA Scoring Strings
Installation
Installation
LASS Full Installation under Windows (5 DVD set)
NOTE: For installing downloadable versions of LASS (Lite and First Chair), please refer to the installation PDF that
accompanied those downloads.
Software Installation:
Insert the NATIVE INSTRUMENTS SOFTWARE DVD into the optical drive.
Use the Windows Explorer to view the contents of the disk.
Start the installation by double-clicking LA ScoringStrings Setup.exe.
The setup program will suggest C:\Documents and Settings\All Users\Documents as the path for the destination
folder (you may also choose another folder).
LASS Full Installation under Mac OS X (5DVD set)

NOTE: For installing downloadable versions of LASS (Lite and First Chair), please refer to the installation PDF that
accompanied those downloads.
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Insert the DVD
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Choose a destination. Note that in this dialog any external drives will be unavailable however, they can be
selected in the next screen.
Press continue to install to the default location MAC HD/Users/Shared. If you want to install to an alternate
destination click the folder Shared and choose Other.
Press Install to begin library installation
System Specifications
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Stand-alone, VST, Audio Units, RTAS, ASIO, Core Audio, DirectSound
Minimum System Requirements:
Mac OS 10.4.x, G4 1.4 GHz or Intel Core Duo 1.66 GHz, 1GB RAM (for LASS full version)
For LASS Lite and LASS First Chair which comes on Kontakt 4, you will need an non PPC Mac in other words,
you will need an Intel CPU Mac non-Motorally CPU Mac.
Windows XP or Windows Vista, Pentium or Athlon 1.4 GHz, 1GB RAM
300MB free disc space, 40GB for complete installation, DVD drive capable of reading dual layered DVDs
NOTE FOR LASS (FULL) USERS: There are many users who use LASS on one machine without issues (weve been
accused of being overly cautious with our recommended system requirements -- especially considering some of
todays faster computers -- 4 and 8 core machines). And even for those who have lesser computers, you can use
the full mixes or you can even use LASS to the fullest by rendering midi tracks. However, as a safety dead-line
precaution, we only recommend 2 computers for those prime-time professionals who would use LASS to the
fullest with deep divisi writing on all string sections simultaneously and playback everything in real-time with no
glitches at lower latencies. /$66LVOLNHYHOLEUDULHVLQRQHD)LUVW&KDLUOLEUDU\'LYLVL$'LYLVL%'LYLVL
C and a Full Section library. When layering the divisi sections, it can be quite demanding on your system, so for a
better performance, it is recommended to use LASS on the fastest computer you can as opposed to the minimum
system requirements.
NOTE FOR LASS LITE AND FIRST CHAIR USERS: Since LASS Lite and LASS FC do not have the divisi ensembles,
your system requirements will be substantially less than with the full version of LASS. Any decent computer made
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Instruments and Sections
Instruments and Sections

VIOLINS I
1 player First Chair
4 players ensemble A
4 players ensemble B
8 players ensemble C
16 players full section mix
VIOLINS II*
CELLOS
BASSES
8 player full section mix
VIOLAS
Green = LASS First Chair (FC), Blue = LASS Lite. LASS full contains all sections. * Derived from Violins I, Violins II are
panned to a 2nd violins orchestral perspective and programmed to avoid phasing issues with the 1st violins.
At the heart of LASSs sound are Real Legato performance sample patches and a unique layered ensemble approach.
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(avoiding the dreaded same player sound), they combine seamlessly to produce entirely cohesive small, medium, or large
sections with the right divisi ratios.
LASS also features solo instruments performed by the section leaders. Rather than sounding like guest soloists, these
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The players are recorded in position on the scoring stage and mixed in the traditional orchestral seating perspective,
PDNLQJLWVLPSOHWRJHWDPDJQLFHQWVWULQJPL[RXWRIWKHER[0HDQZKLOHZHWRRNWKHXWPRVWFDUHWRHQVXUHWKDWWKH
instruments can be panned anywhere with virtually no phasing problems should you need to do that.
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WKHIXOOPL[,IDSDUWVRXQGVULJKWXVLQJWKHUVWFKDLUSDWFKWKHVDPHVHTXHQFHZLOOVRXQGULJKWZLWKWKHIXOOHQVHPEOH
no MIDI reprogramming required.
The result is unprecedented control over dynamics, performance and section size.
7
Continuous Controllers
Continuous Controllers
These are all the MIDI continuous controllers (CC) used in LASS. A lot of planning went into programming LASS so that you
can just play the patches without being an octopus (to operate a bunch of CCs simultaneously). Great care was taken to
avoid Multitudes of CC assignments while maximizing control.
For the sake of clarity throughout this users guide
Short articulations means: Spiccato, Staccato, Pizzicato, Bartok Pizzicato.
Long articulations means: Legato patches, Espressivo sustains, Non Espressivo sustains, Sordinos, Tremolos,
Trills and Harmonics (basically any sustained articulation).
CC1
For cross-fading dynamic layers on all long articulations.

CC1 is also used to shorten releases on all short articulations.
CC7
Used on all patches as the Main patch volume.
CC11
Used on all patches as an additional volume control.
CC64
Used to force legato phrasing on legato patches.

CC64 is also used to activate A.R.T. (Auto Rhythmic Tool).
CC83
Used to control the speed of portamentos and glissandos on all Speed Legato patches.
CC89
This CC can be user-reassigned but is used to bypass the Tuning Table script (bypassed by default).
CC110
This CC can be user-reassigned but is used for turning on/off the A.M.G. logic in the LASS Real
Legato script.
CC111
This CC can be user-reassigned but is used for turning on/off the legato mode in the LASS Real Legato script.
It is also used to bypass Release Triggered samples (RTs) on other patches.
CC111 is also used for controlling the velocity on all short articulations (see A.R.T. script section).
NOTE: You should not use the following continuous controllers when playing LASS patches because they are
being used by the scripts internally and will cause problems with the patches and their performance:

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LASS. However, if you use the defaults CCs, you wont have to re-assign them on every patch, saving you a lot of
time and effort.
8
Patches Overview
Patches Overview
Note: LASS Lite and LASS First Chair do not contain the divisi ensembles that the full version of LASS does. To
see what patches are included in each of these libraries, SOHDVHUHIHUWRSDJH in this User Guide. Basically, LASS
Lite offers you all the Full Mix patches in LASS and LASS First Chair offers you all of the First Chair Patches in
LASS.
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All the patches that come with LASS Lite and LASS First Chair (FC) are exactly the same as the Full Mix and First Chair
patches that come with LASS (the full version). The main difference is you are not getting the divisi ensembles with either
the Lite or the FC version of LASS. What does this mean? Well, below are some things you cant do with LASS Lite or FC
that you can do with the full version of LASS.
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use the Auto Arranger on each divisi ensemble patch to give you auto divisi capabilities.
split up the divisi ensemble into divisi sections to maintain accurate player count on harmony and chords.
perform each divisi ensemble separately to add more of a human performance
tune each divisi ensemble separately to add a greater variety to the sound
EQ each divisi ensemble separately to have more creative options
Send different amounts of Reverb or FX to each divisi ensemble separately to added ambiance control.
have small, medium or large ensemble sizes by choosing which divisi ensembles you want to use.
Patches Overview
All LASS patches and Multis can be accessed through the LA Scoring Strings Library browser (shown above).
Simply click on the Instruments tab to open a folder hierarchy that reveals the different bit-depth instruments and Multis
(Multis are discussed in the LASS Multis section of this guide). After you click on the Instruments tab, the LASS library
browser should look as follows:
By double clicking on the various folders, you can navigate to the different instruments and patches. If you want to return
to a previous folder (or go up in the folder hierarchy), you can click on the up arrow below the instruments tab.
10
P
Leg
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Speed = CC83 controls speed

Esp Leg = Espressivo Legato
L = Legato
Green = LASS FC
P = Portamento
Blue = LASS Lite
G = Glissando
Lt = Lite on RAM
Esp
Patches Overview
LASS Patches
4 player ensemble A
4 player ensemble B
8 player ensemble C
4 player ensemble A
4 player ensemble B
8 player ensemble C
3 player ensemble A
3 player ensemble B
6 player ensemble C
Violins I
O
3 player ensemble A
3 player ensemble B
4 player ensemble C
2 player ensemble A
2 player ensemble B
4 player ensemble C
Violins II
Violas
Cellos
Basses
(QVHPEOHSDWFKHVLQFOXGHEsp Sus, Staccato, Spiccato, Pizzicato, Tremolo, Sordino, Harmonics and Glissando FX and Auto Arranger Multis.
11
Patches Overview
There are a few things that many of the LASS patches share in common. A great deal of effort was spent in making patches
and conventions consistent. +HUHDUHVRPHLPSRUWDQWWKLQJVWRNQRZDERXW/$66
All patches
use CC11 to control volume in addition to CC7 used as a master volume.

are set to have CC7 at 127 = 0db in the options menu.
have an EQ page and preset. The EQ preset is a good starting point but please
also try the patches without EQ. EQ is such a personal thing, and depending
on the job at hand, different EQ settings could be more appropriate.
use CC89 to activate and bypass the Tuning Script.
All sustain patches
use CC1 to control the different dynamic layers.
All Legato Speed patches
use CC83 to control the speed of the portamentos or glissandos.
All short articulations

(spiccato, staccato, pizzicato)
use CC1 to shorten the duration of the notes.

use CC111 to control the Velocity Attenuator.
use the A.R.T. script.
All non legato sustain patches use CC111 to turn Release Trigger samples (RTs) on/off.
All sustained samples
are looped.
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LASS Real Legato REAL legato performance samples meticulously programmed and scripted for
non-repetitive legato transitions and real-time control of legato articulations.
A.R.T. (Auto Rhythm Tool) an advanced (yet simple to use) rhythm and accents script with
humanization features.
Trill Script the script intelligently triggers trills diatonically in any key with just 1 Key Switch.
Delay and Humanization add delay and randomization to the timing of note playback.
CC Table allows you to create your own volume curves for sustain and legato patches.
A.M.G. Anti Machine Gun. Triggers alternate samples to avoid sample repetition.
Tuning Tool allows you to create your own tuning table and add tuning randomization to patches.
TIP: If you are going to be playing a lot of unison by layering all the divisis and playing chords at the same time,
you will be taxing your computer and hard drive quite a bit. Instead, you should probably load the Full Mix version
of those sections. That is what the Full Mix patches were designed for.
12
LASS Real Legato Patches
LASS Real Legato patches are very easy to play. Basically, you play legato transitions by either overlapping notes as you
play or by pressing down on the sustain pedal as you play a melodic phrase. If you do use the sustain pedal, make sure you
release it before you release the last note of the phrase to hear the release trigger sample (RT).
Depending on the velocity at which you play the notes, you will trigger either a clean legato, portamento or glissando
performance. Generally the harder velocities trigger legato samples, medium velocities trigger portamentos and very low
velocities trigger glissandos. However, all keyboard controllers react differently, so you can adjust the scripts settings to suit
your keyboard and playing style. Also, when you play a chord, the Real Legato script will interpret it as a chord and play all
the notes. All LASS sustained samples are looped. For a more in depth explanation of the Real Legato features, see
the section LASS Real Legato script.
13
5HPHPEHU Esp Leg = Espressivo Legato, L = Legato, P = Portamento and G = Glissando.

Patch Name
Description
RAM Usage
Esp Leg LPG
Espressivo Legato with legato, portamento and glissando intervals.
(DFD)
Esp Leg LPG Speed P
Espressivo Legato, portamento and glissando intervals. Use CC83 to

control the speed of the portamento. When CC83 is at zero, youll
get the slowest portamento. The higher the CC83 value, the faster the
portamento. When CC83 is at 127, the portamento almost sounds like a
clean legato. This can be very useful for adding variety to ostinato lines.
(DFD and RAM)
Esp Leg LPG Speed P+G Espressivo Legato with legato, portamento and glissando intervals with
speed control of the portamento and glissando. Use CC83 to control
the speed of the portamento and glissando. These are the most RAM
hungry patches in LASS.
(DFD and RAM)
Esp Leg LP
Espressivo Legato with legato and portamento intervals.
(DFD)
Esp Leg LP Speed P
Espressivo Legato with DFD legato and RAM portamento intervals. Use
CC83 to control the speed of the portamento. When CC83 is at zero,
youll get the slowest portamento. The higher the CC83 value, the faster
the portamento. When CC83 is at 127, the portamento almost sounds like
a clean legato. This can be very useful for adding variety to ostinato lines.
(DFD and RAM)
Esp Leg LP Speed P_Lt
Espressivo Legato Lite on RAM with DFD legato and RAM portamento
intervals. Use CC83 to control the speed of the portamento. When
CC83 is at zero, youll get the slowest portamento. The higher the CC83
value, the faster the portamento. When CC83 is at 127, the portamento
almost sounds like a clean legato. This can be very useful for adding
variety to ostinato lines.
(DFD and RAM)

Lighter on RAM
than non LT
patches.
Esp Leg L
Espressivo Legato with legato intervals (this takes the least RAM of any
legato patch).
(DFD)
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a bit of RAM by just loading the LP patches as opposed to the LPG patches. Lt patches perform almost exactly
as Speed patches... but take less RAM using Kontakts new RAM saving features.
All Leg patches utilize LASSs Real Legato Script. The reason there are so many variations is to give you options
depending on your RAM and musical needs. /$66LVOLNHYHOLEUDULHVLQRQHD)LUVW&KDLUOLEUDU\'LYLVL$
1/4 Divisi B, 1/2 Divisi C and a Full Section library.
14
The Esp Leg Speed patches have been programmed to give you 100% real-time speed control of all portamentos
and glissandos no matter what dynamic...or even if youre in mid-crescendo the performance is transparent. These
Speed Control patches (which use CC83 to control the speed of the intervals) take more RAM, so (as you can see
above) regular, medium, and fast DFD legato patches were done for those who are concerned about RAM. Patches were
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combination for you and your setup. Providing all those variations (consistently across all the divisis of all instruments),
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All the Legato, Espressivo and Non Espressivo patches have 4 dynamic layers and those are controlled by CC1
(Mod Wheel). All patches throughout LASS have CC11 as an additional volume control. All LASS patches also use CC7
as a patch master volume controller.
All patches are in DFD mode (Direct from Disk saving you RAM) except for those that have the word Speed
in them. Speed patches are more RAM hungry because the Speed controllable samples reside in RAM.
6RZKDWGRHV'LUHFWIURP'LVNWHFKQRORJ\GR"7KHEDVLFLGHDLVWKDWSDWFKHVRUVDPSOHVLQ')'PRGHZRUNE\UVW
loading a small amount of the sample into RAM just enough so that when a note is struck, the hard drive has enough
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gigabytes of RAM in Sampler mode. The drawback is that the maximum voice count is dependent on the speed of the
hard drive.
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shredded by the long and brutal glissando charts. The portamento articulation would cover most of these
VLWXDWLRQVIRUWKHFHOORVDQGEDVVHVDQGLWVHHPHGZURQJWRIRUFHWKHVHJUHDWSOD\HUVWRDEXVHWKHLUQJHUVRQ
those large instruments.
15
Sustain Patches
Sustain Patches
All Patches use CC11 to control volume in addition to CC7 as a master volume.
All sustain patches use CC1 to control the different dynamic layers.
All sustain samples are looped.
All basic (non-legato) sustain patches use CC111 to turn Release Trigger samples (RTs) on/off.
There are some 3 layer patches to omit the pppOD\HULQIDYRUIRUPRUH5$0DQGKDUGGULYHHIFLHQF\
Patch Name
Description
Esp Sus
Espressivo Sustains (these are your plain sustain patches with 4 layers of dynamics) with RTs.
Non Esp Sus
Non Espressivo Sustains (these are static sustain patches with 4 layers of dynamics) with RTs.
Tremolo
Tremolos in 2 dynamics with RTs.
Trills Maj/Min
Major and minor trills with the Trill Script that will play diatonic trills based on a single key switch.
See the Trill Script section of this guide.
Con Sordino
Muted strings with RTs.
Harmonics
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saving you memory.
16
Short Articulation Patches
Short Articulation Patches

All short articulation patches use the A.R.T script (Auto Rhythm Tool). These patches use CC1 to shorten the duration of
the notes and CC111 to control the velocity attenuator (see the A.R.T section for more details about these patches).
Patch Names
Description
Staccatos
4 X Round Robin / Random with the A.R.T. script. See the A.R.T. script section for more information.
Spiccatos
4 X Round Robin / Random with the A.R.T. script.
Pizzicato
2 X Round Robin / Random with the A.R.T. script. and the A.M.G. script for more variety.
Bartok Pizz
Bartok Pizzicato for Basses only. These are 2 X Round Robin / Random with the A.R.T. script and the
A.M.G. script for more variety.
There are some Loose versions of the staccatos for the basses and cellos (the names of the patches end with the word
Loose). These were programmed differently than the typical staccatos. The typical staccatos were edited very carefully
so that they would perform well with the A.R.T. script. However, the attacks might be too tight for some people, so I included
Loose versions of patches (when needed) where the attacks are unaltered but do not interact quite as well with A.R.T.
as the non-loose versions.
If you play rapid repetitions on the Spiccato or Staccato Multis, you may hear sample build-up which might not sound
natural. In this case, try riding the Mod Wheel up (this shortens the duration of the notes) and youll clean up the sound
and will hear more detail. In addition, this can remedy some noise build-up too. If on rapid repetitions you hear hiss,
try raising the Mod Wheel.
A note about Spiccato Multis and patches in general: The spiccato articulation is generally not a very loud one.
But depending on the music and arrangement at hand, it may be desirable to have the spiccato phrases cut
through the mix more than what might otherwise happen in a spiccatos true dynamic range. For this reason,
the Spiccatos (and Staccatos for that matter) have a wide dynamic range to accommodate most creative choices.
If you want to stay truer to the dynamic range, you may want to lower the volume of the higher velocity passages
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17
Ensemble Patches
Ensemble Patches
LASS Ensemble patches are combinations of different string sections in a single patch. The idea is to have patches of
the full orchestral string sections across the entire keyboard. This allows you to play the basses, cellos, violas and violins
on 1 MIDI channel on just 1 patch. Some developers call these patches combination patches or Combis.
Patch Name
Description
Ens Spic Low
Full mix Bass and Cello spiccatos meant to be used with the Ens Spic High patch on the
same MIDI channel.
Ens Stac Low
Full mix Bass and Cello staccatos meant to be used with the Ens Stac High patch on the
same MIDI channel.
Ens Spic High
Full mix Violins and Violas staccatos meant to be used with the Ens Spic Low patch on the
same MIDI channel.
Ens Stac High
Full mix Violins and Violas staccatos meant to be used with the Ens Stac Low patch on the
same MIDI channel.
Ens Esp Sus
Full mix Espressivo sustained Basses, Cellos, Violas and Violins.
Ens Esp Sus 3 Layer
Full mix 3 dynamic layer Espressivo sustained Basses, Cellos, Violas and Violins.
Ens Harmonic
Full mix Harmonics of Basses, Cellos, Violas and Violins.
Ens Pizzicato
Full mix Pizzicato Basses, Cellos, Violas and Violins.
Ens Tremolo
Full mix Tremolo Basses, Cellos, Violas and Violins.
Ens Sordino
Full mix Sordino (muted) Basses, Cellos, Violas and Violins.
*Ens Div Gliss FX Down Full mix glissando-down performances of various intervals. Play these with the sustain pedal
down and random arpeggiated clusters to get an aleatoric affect.
*Ens Div Gliss FX Up
Full mix glissando-up performances of various intervals. Play these with the sustain pedal
down and random arpeggiated clusters to get an aleatoric affect.
* = Not included in LASS Lite or LASS First Chair libraries.
The reason there are some Ens Low and Ens High patches is to allow each patchs register its own EQ if needed. The EQ
setting for the Ens Spic Low may not be appropriate for the Ens Spic High (for example) and by splitting the patches into
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18
LASS Real Legato Script
The LASS Real Legato script is LASSs legato engine. It does a lot of things behind the scenes so that you can focus on
playing realistic legato lines and melodies in real-time rather than micro-editing your performances. Depending on your
settings, the velocity at which you will play legato lines dictate the type of legato transition played. Generally:
A harder velocity will trigger a clean legato performance.
A medium velocity will trigger a portamento performance.
A very soft velocity will trigger a glissando performance.
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CC1 controls the dynamic layers of the patch (ppp through fff) and also the volume of those layers.
CC7 controls the master volume of the patch.
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CC110 (default) allows you to choose the various A.M.G. (anti machine gun) modes in real-time.
CC111 (default) allows you to turn on/off the legato modes in real-time.
CC83 controls the speed of the portamentos and glissandos in real-time on Speed patches.
CC64 (Sustain Pedal) forces whatever you play to be played legato.
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in Delay & Humanization script you can re-route these CCs for custom uses (See Delay & Humanization).
19
The script can sense whether youre playing chords (like double stop) or legato lines and if you turn the legato mode off
(this can be done in real-time via CC111) you can also play these patches as regular non-legato sustain patches. Holding
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If you load the Legato Speed patches, youll be able to control the speed of the portamentos and glissandos using CC 83.
CC83 is hard wired to control the speed of the transitions, so its best if you program your keyboard controller or MIDI
fader hardware to transmit CC83.
The Performance Page

1
2
4
5
6
7
8
9
10
11
12
13
14
15
1. Interval This provides real-time visual feedback of the interval you played and hence the legato interval triggered
from your performance.
2. Articulation This shows you whether you played a legato, portamento or glissando type transition.
3. Main Display This window tells you at which velocities you will play the different legato articulations.
For example, based on the Main Display above if you:
Play a velocity greater than 50 or more you will play a legato articulation.
Play a velocity greater than 4 and equal to or less than 50, you will play a portamento articulation.
Play a velocity of 4 or less, you will trigger a glissando.
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that best suits your playing style and keyboard controller sensitivity.
4. A.M.G. Menu A.M.G. stands for Anti Machine Gun. The term machine gun is used to describe the sound of
20
the same sample being triggered over and over again. The A.M.G. logic is used to eliminate the repetitive nature of
samples by playing alternate samples when you repeat the same notes. There are 4 types of A.M.G.:
A.M.G. Leg this only alternates the samples on the legato transitions (and portamento and glissando).
A.M.G. Leg+Sus this alternates the samples on both sustained samples and legato samples.
A.M.G. Sus this only alternates sustained samples and not the legato transitions.
A.M.G. off this bypasses the A.M.G. engine.
NOTE: Since A.M.G. borrows samples from higher or lower pitches than originally intended, there can be a slight
change in timbre. Sometimes this is a welcomed thing, at other times, it may distract you. Use your ears and
decide what works best for you under the circumstances.
TIP: If the changes in timbre (formant shift) are distracting to you, by blending the different divisi sections (A,B,C)
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5. A.M.G. CC This is where you input the CC number with which you can select the A.M.G. mode in real-time.
6. Norm Vel This is where you input the velocity beyond which point it will play a normal legato transition. As you
enter different values in this field, the Main Display will be updated.
7. Port Vel This is where you input the velocity beyond which point it will play a portamento legato transition.
Any velocity below this number will trigger a glissando unless the Port Vel is set to zero. As you enter different values
in this field, the Main Display will be updated.
8. Release Trigger This on/off button controls whether the release triggers will be played or not.
9. Legato RTs This allows you to turn on/off the legato release trigger. These can sometimes aid in gluing the
transitions together, but will probably not be needed most of the time...especially if you are using reverb. However,
Ive found that the solo instruments can benefit from legato RTs. Its a matter of preference. Experiment and see what
you like the most.
10. Legato Menu This menu gives you the option of having the legato mode on or off. It can be controlled in real-time
by a CC111. The CC is user definable in the Leg CC field (item 11).
11. Leg_CC# This is the CC number to control the Legato mode (see 10).
21
12. Chord ms This is the number of milliseconds the script will allow before considering a note being played a legato
note as opposed to a chord. This allows you to play chords and legato lines without changing the legato mode.
13. Slop Detect This prohibits chords from being accidentally triggered when playing in legato mode. This can happen
when your finger plays 2 keys instead of one resulting in a clumsy sound. This button prohibits this.
14. EQ This button turns on/off the EQ for this instrument. The full EQ section can be seen selecting EQ page
in the page menu (item 15).
15. Page Menu This is where you choose what page of controls you want to access: Performance, Legato Tweak,
and the EQ page.
Legato Tweak Page be careful on this page!!

16
18
19
17
20
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note is the actual legato note. If you would like to customize the way the LASS Real Legato script transitions between
WKHUVWDQGVHFRQGQRWHVWKLVLVZKHUH\RXGRLWBE VERY CAREFUL...A lot of time has been spent getting good
numbers for these settings (and everything else that is going on behind the scenes in this script) so make sure
you understand what you are doing by reading the explanations below before trying to Tweak these settings.
16. Edit Leg/Port/Gliss Menu For reasons too complicated to explain, BEFORE you turn any knobs on this page,
make sure you select the type of legato you want to adjust from the drop-down menu EVEN if it is already
showing when you come to this page. Otherwise you may inadvertently mess up the settings for one of the other
transitions by mistake. Of course you can always just re-load the patch to return to the default settings, but you can
avoid unnecessary frustration by adhering to the choose your legato type from the drop-down menu first rule.
17. First Note Fade Out This controls how fast (in milliseconds) the first note will fade out as the legato second
note is triggered. This knob and the Second Note Attack knob should provide you with most of what you need in
22
customizing the transitions. For faster passages, try reducing the First Note Fade Out. Youll find it sounds better
on really fast passages this way. The default settings in LASS are designed to provide a good performance
for most applications, but if you want to play faster lines and perhaps even runs, Id recommend shortening
the First Note Fade Out.
18. Second Note Attack This dictates how fast (in milliseconds) the second note (the legato note) will transition-in
from the first note. On really fast runs, you can try making the attack faster...use your ears to judge. I find that just
reducing the First Note Fade Out does the trick most of the time for faster passages.
19. Curve This is the shape of the fade-in. This knob is governed by the From% and To% fields, so it is only for a
visual guide. A value of 100 will yield a steep version of this type of slope
, a value of 0 will
yield a linear slope
and a value of -100 will yield a steep fade in shape like this . Again,
as much as youd like to tweak this knob, it is really only for informational feedback purposes.
The From% and To% fields are the only way to really control the
Curve knob.
20. From% and To% These 2 fields control the amount that your Mod Wheel will affect the
Curve of the fade in. By setting the From% to 0 and the To% to 100, the Curve knob updates
its value when you play notes and change the
CC1 levels. Extreme From% and To% settings (like -100 or +100) are not typically ideal.
Youll need to find the
sweet spot of where the Curve and fade-in time sounds best on the fff samples (Mod Wheel
all the way up) and
where the Curve sounds best on ppp samples (when the Mod Wheel is all the way down).
NOTE: Considerable time was spent tweaking these patches during development, so
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23
EQ Page
21
22
23
24
25
This is where you set the EQ and you can save your EQ setting to any of 10 preset slots. Freq is the center frequency
of the EQ band, Q is the bandwidth, and Gain is the amount of gain you would like to apply to the frequency and its
bandwidth. Youll notice that there are three of each knob. This is for setting up to 3 different frequencies, bandwidths and
gains per patch.
21. EQ Menu This is where you can choose some pre-programmed EQ settings or you can
save your own settings. (see image at right)
22. Freq This is the frequency knob of the EQ. It will display the frequency in hertz (Hz).
23. Q This is the bandwidth of the frequency. It will display the bandwidth in octaves (oc).
24. Gain This is the gain (boost or cut) of the frequency. It will display the cut or boost in
decibels (dB).
25. EQ This button turns the EQ on or off.
NOTE: The EQ preset is a good starting point but please also try the patches without EQ.
EQ is such a personal thing, and depending on the job at hand, different EQ settings could be more appropriate.
24
A.R.T. Auto Rhythm Tool
The Auto Rhythm Tool (A.R.T.) is the engine behind all short articulations in LASS these would include: spiccato,
staccato, pizzicato. By simply holding down the sustain pedal, you activate A.R.T. This allows you to play rhythmic
patterns with unprecedented control and ease in synchronization with your DAW...and its really fun!! Sometimes its very
hard to play detailed accents and rhythms on weighted keyboards even at slow tempos...trying to do it at fast tempos
can seem like a lost cause. This is where A.R.T. really shines. By taking a few minutes to learn A.R.T.s controls, youll
dramatically improve the control you have over all your short articulations.
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There is an Anti Repetition page that allows you to choose between Round Robin and Random.
There is a Velocity Attenuator page that allows you to choose the percentage by which you reduce your velocities.
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CC1
Controls the duration of the articulations. This is very important at faster tempos or rapid repetitions where you
dont want the sample buildup sound. When CC1 is at 0, the release of the note is unaffected. As you raise
CC1, you are shortening the release of the note.
CC7
Controls the master volume of the patch.
CC11
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CC111
(default) Allows you to control the Velocity Attenuator (discussed later). VERY USEFUL!!
CC64
(Sustain Pedal) activates A.R.T.

25
The Rhythm Tool (Repetition Page)

1
2
3
4
5
6
10
11
15
12
16
13
14
17
1. EQ This button turns on/off the EQ for this instrument. The full EQ section can be seen selecting EQ page
in the page menu (item 11).
2. Slam This control is only available on certain patches (typically the Cello and Bass ART patches). This knob adds
dynamic processing to the sound that makes it sound bigger and more aggressive.
3. Preset menu In this menu you can manage your Pattern Tables that you create. You can save them and recall them
to 10 different presets that are recallable via user-definable key switches (item 4) in real-time!! The following are the
parameters that get saved to a preset:

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4. KeySwitch This button is used to assign a Key Switch to whatever preset is currently displayed in the Preset menu.
To use this, just click on it, it will blink and tell you to play a note. Once you play a note outside of the instruments
range, that note will be the assigned Key Switch for that preset.
5. Tempo X 2 This, in effect, doubles the playback speed of the rhythmic sequence displayed in the Pattern Table.
So even at very slow tempos you can achieve very fast rhythms.
6. Double This control is only available on patches that have the word Slam at the end of them and Harmonics
patches. This button turns on/off another layer of samples. This could be compared to having players double track
themselves in a recording session (hence the name) and thus make the patch sound bigger.
7. Mode Display This window shows you what mode you are in (Round Robin or Random) based on your last key
switch.
8. Group Playing This window shows you the group that was just played.
26
9. Beat Markers Menu This menu allows you to choose every how many beats you will have a marker. This is a visual
aid to help you in finding the downbeats of certain meter patters.
10. Page Menu This menu lets you choose between the Repetition Page, Anti Repetition Page, Velocity Attenuator and
the EQ Page.
11. Note Value Menu Here you can choose the note value of your Table: 16th, 8th note triplets, 8th. Used with the
Tempo x 2 (item 5) button, you can effectively have the values of 32nd and 16th note triplets in addition to the regular
(non double-time) note values.
12. SeqLen This knob lets you choose the Sequence (or pattern) length of your Pattern Table (item 15). In combination
with the Note Value Menu (item 11), you can choose (for example) if youd like your rhythm to be 16-eighth-notes long
or 7-sixteenth-notes long etc.
13. Rnd Accent (Random Accent) In this input field, you can type in the amount of velocity randomly added or
subtracted to each segment of your Table. A value of 10 (for example) will result in anywhere between + or - 10 being
added (or subtracted) to your velocity table. This keeps the patterns from sounding too predictable (thus more human).
Since LASS has Multiple velocity layers, its not just altering the volume of the different pattern segments, its actually
triggering different dynamic samples therefore adding even greater variety.
14. Rnd Time (Random Time) This is similar in concept to Rnd Accent (item 13) except that it is applied to the timing of a
note and not its velocity. This is also a way to humanize the performance of your rhythmic pattern.
15. Pattern Table This is where you can create your own patterns. You can choose how long you want your pattern
to be (1 to 16 notes) buy adjusting the Seq Len knob. The center line in the table has a value of zero. The top of the
table is +25 velocity and the bottom is -25 velocity (with the caveat that by choosing -25 you are choosing to omit this
note from the sequence). By clicking above or below the center line, you are telling A.R.T. by how much more or less
of a velocity you want when playing back that segment in the Pattern Table. When A.R.T. is activated, it will sequence
through the table triggering the notes you have held down with a relative velocity to what you originally played on the
keyboard.
For example, if you draw all 16 segments at a value of 20, when you play a note and hold down the sustain pedal,
a series of notes will be played back at a velocity of +20 to what you originally played...and at a speed based on the
Note Value you assigned the sequence (item 11).
16. Beat Markers This is a visual aid to help you in finding the metered downbeats of certain patterns.
17. Pattern Cursor This simply provides you with visual representation of where playback is during a sequence (when
you have the sustain pedal down).
27
Anti Repetition Page

1
2
3
4
The Anti Repetition page allows you to control whether you want to use an intelligent Round Robin or Random algorithm to
alternate repeated notes in your playing. Whats the difference between Round Robin and Random? If we represent four
middle C samples as 1,2,3 and 4; and we were to play a repeated sequence of middle C, this is an example of a sequence
of middle C samples being triggered using the 2 different algorithms.
5RXQG5RELQ 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4...
5DQGRP 3 1 3 2 4 1 2 4 1 3 2 4 3 2 1 2 1 3 4 2 3 1 4 2
As you can see, with Round Robin (RR) the notes cycle in successive order...over and over. With Random (Rnd),
the notes form a random pattern. LASS also employs some intelligent decision making when using its RR or Rnd logic.
In the case of a RR, all notes played within a certain number of milliseconds will result in the same note groups being
triggered. This is crucial for maintaining up and down bows in concert with each other. Also, you can have the RR reset to
WKHUVWJURXSDIWHUKRZHYHUPDQ\VHFRQGVRIQRQRWHDFWLYLW\XVLQJWKHReset T knob.
In the case of Rnd notes groups, A.R.T. keeps track of all the notes you play. If you play a middle C (for example), and then
play a bunch of other notes but not middle C, the next time you play middle C you are guaranteed to not have the sample
be the same one as the last previous C (even if hundreds of other notes have been played since). This is crucial for ostinato
phrases where the top notes tend to draw attention to themselves... if they are the same samples... it sounds fake. A.R.T.
avoids this.
1. Mode Display This display lets you know whether you are in Round Robin or Random mode. It also alerts you if
you reset (see 2).
2. Round Robin Key Switch Click on this button to change the Key Switch assignment for setting A.R.T. to
RR mode. When you play an RR key switch, it will automatically reset the RR sequence to group 1.
3. Group Display This display shows you the number of the group you just played in your RR or Rnd.
4. Random Key Switch Click on this button to change the RND key switch to your own liking.
5. Auto RR This button turns on the Auto Round Robin logic in A.R.T. enabling the Reset T knob (item 6).
28
6. Reset T This lets you choose how many seconds must pass without note activity for the RR counter to reset to 1.
7. Page Menu This menu lets you choose between the Repetition Page, Anti Repetition Page, Velocity Attenuator and
the EQ Page.
8. ms This is the field in which you decide how many milliseconds of a window in time you want for chord detection.
All notes played within a certain number of milliseconds will be considered a chord and will result in the same note
groups being triggered. This is crucial for maintaining up and down bows in concert with each other.
EQ Page
9
10
11
12
13
14
This is where you set the EQ and you can save your EQ setting to any of 10 presets. Freq is the center frequency of the
EQ band, Q is the bandwidth, and Gain is the amount of gain you would like to apply to the frequency at the specified
bandwidth. Youll notice that there are three of each knob. This is for setting up to 3 different frequencies, bandwidths and
gains per patch.
9. EQ This button turns the EQ on/off.
10. EQ Menu This is where you can choose pre-programmed EQ settings or save your own settings.
11. Capture EQ When not in Kontakt 3.5 Player, you can access the EQ inserts in the Kontakt Editor. This button
updates the A.R.T. scripts EQ setting with the current EQ settings in the insert of Slot 5 of the FX Inserts. So in other
words, this button captures the EQ setting of the EQ in slot 5 of Kontakts FX Insert.
12. Freq This is the frequency knob of the EQ. It will display the frequency in hertz (Hz).
13. Q This is the bandwidth of the frequency. It will display the bandwidth in octaves (oc).
14. Gain This is the gain (boost or cut) of the frequency. It will display the cut or boost in decibels (dB).
29
Velocity Attenuator Page
15
16
17
The Velocity Attenuator is a very simple (yet powerful) tool that helps you control the velocity at which you play thereby
increasing dynamic control. It behaves like a velocity compressor by attenuating the velocity you play based on the
percentage shown on the % of Vel knob (item 16). The percentage (% of Vel.) amount is controllable in real-time by
CC111LWHP)RUH[DPSOHLWFDQEHWHFKQLFDOO\YHU\GLIFXOWWRSOD\UDSLGSDVVDJHVDWORZYHORFLWLHVHVSHFLDOO\ZLWKD
weighted keyboard controller), but by reducing the percentage of the velocity output (with CC111) you can easily achieve
lower velocities (and thus lower dynamics) on fast passages. The Velocity Attenuator also affects the velocities created
by the Rhythm Tool.
15. Velocity Display This window displays the new velocity generated by the Velocity Attentuator based on its
percentage (%) value.
16. % of Vel Percent of Velocity is a knob that can be controlled manually, with the mouse or by CC111 (item 17)
in real-time. It reduces the played velocity by the percentage value displayed next to the knob.
17. Vel CC The Velocity CC input field allows you to change the controller value (default CC111) to another value.
Keep in mind, if you change this value, and you want to remain consistent with your patches, youll have to change this
value on every patch that has the A.R.T. script. It is recommended that you use CC111 unless there are some technical
reasons you cant. In fact, this logic apples to all default CC assignments.
30
Trill Script
Trill Script
1
2
4
5
The Trill script helps you play the correct diatonic trill in whatever key you are in with just 1 key switch. Its very simple to
use and your chosen key signature is displayed in the Key Display window (item 3). Basically you tell the Trill script what
key you are in by pressing the major (or relative major for a minor key) note of the key you are in. The key switch range is a
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For example, if you are in the Key of C major, you would play the key C1. Thats it! Youll see what key youre in because
the Key Display (item 3) will show you. Now, as you play trills, they will all be in the key of C major. Even if you play a
triad (3 note chord) you will get a diatonic triad trill. So a C-E-G chord would result in a chord of trills playing the trills
C-D, E-F, G-A.
For a minor key, you would play the relative major note of the minor key you are in. So, for example if you are in C minor,
you would play an Eb (the relative major key). Again, you will always know what key you are in because the Key Display
(item 3) will keep you updated.
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CC1
Controls the dynamic layers of the patch (ppp through fff) and also the volume of those layers.
CC7
CC11
CC111
(default) Allows you to turn on/off the release triggered notes in real-time.
31
Trill Script
(from image on previous page)

2. Show/Hide EQ This shows/hides the EQ page.
3. Key Display This shows you what key you are in based on the key switch you last played.
4. RT CC This is where you can set the CC number to control the Release Trigger Options of the Trill script (default is
CC111). You can control the type of release trigger you want (upper/lower/none) in the middle of a phrase in real-time.
5. RT Menu This lets you choose between using the lower note, upper note or no note as a release trigger of a trill.
If you set the RT Menu to Upper Note RT, when you release a trilled note, the last note will be the upper note of the
trill. So, on a C-D trill, the upper note would be the D. The Lower Note RT option will result in the C being played as
you release the trill on a C-D trill. No RT means that there will be no release trigger note when you release a key.
32
Basic Sustains
Basic Sustains
1
2
3
4
5
All sustained patches are controlled similarly. This would include: Espressivo Sustains, Non Espressivo Sustains, Sordinos,
Tremolos, Trills and Harmonics.
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CC1
Controls the dynamic layers of the patch (ppp through fff) and also the volume of those layers.
CC7
CC11
CC111
(default) Allows you to turn on/off the release triggered notes in real-time.
1. Release Trigger This button used in conjunction with CC111 (default) turns on/off the Release triggered samples.
2. CC Num This is CC111 by default, although you can change that to another CC so long as it doesnt conflict with
other CC assignments read the Continuous Controller (CC) Assignments section of this guide.
4. Show/Hide EQ This shows/hides the EQ. It just looks cleaner when its hidden.
5. EQ Menu This is where you can choose pre-programmed EQ settings or save your own settings.
33
Harmonics
Harmonics
The Harmonics patches behave exactly like your Basic Sustain Patches (see previous chapter) except they have a
Double Button and they do not have any release triggers. Instead they have rather long release envelopes.
The Double Button turns on/off another layer of samples. This could be compared to having players double track
themselves in a recording session (hence the name) and thus makes the patch sound bigger.
34
Delay and Humanization Script

1
2
5
6
7
8
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is to add timing variations to each of the different divisi sections so they sound more natural when being played together.
Also, you can be very literal if youd like by applying laws of physics to the various patches. For example, if youd like to
assign one of the divisi sections to the back rows of players in their section, you might add 1 millisecond of delay per
every foot they are away from the front row players so perhaps 20 ms of delay. (At sea level, sound travels
approximately 1 foot/ms.)
You can also add randomizations (item 3) of the timing of the MIDI performance to add variations between the patches...
this also adds a human element to the performance.
1. Auto Arranger and Delay and Humanization (DNH) menu This menu allows you to choose between the
Auto Arranger or Delay and Humanization portion of the script that you want to see and edit.
2. Delay Display This window shows you how much each sample is delayed when you play it. It takes into account the
actual delay and the random timing added or subtracted to the delay. ms delay This is the input field where you can
enter how many milliseconds delay youd like for the patch.
3. Rnd ms This is the input field where you enter how much variance there is to the delay. The value has to be
smaller than the ms delay value (the script takes care of this). For example, if you have a delay setting of 30 ms,
and a Rnd ms setting of 10 ms, the note may be delayed anywhere between 20 to 40 ms. The math is basically
30ms +/- 10 ms = 20-40ms depending on what the randomly-generated value is.
4. Disable/Enable This is like a bypass button. Most of the helper scripts are set to disabled by default. It is up to
you to decide if you want to activate them within Kontakt Sampler (again, you dont have access to these features in
Kontakt Player).
35
5. On/Off CC Assignment This menu lets you choose what CC youd like to use to remotely turn On/Off the DNH
script. As with all CC selections, please make sure you do not choose a CC that is being used by something else in the
patch or else you will have CC conflicts.
6. DD Delay On/Off This button allows you to delay your CC performance in addition to your notes (as opposed to just
the notes) so your swells and dynamics will also be delayed..
7. CC Re-route Enable Buttons These buttons will turn ON/OFF the CC routing portion of the script. Once engaged,
you can assign a new CC which will be routed in place of the old CC (see item 8).
8. CC Re-route Entry Fields These numeric entry fields allow you to choose a CC number that replaces the CC
number displayed on the right hand side of the field
36
Auto Arranger
Auto Arranger
***For a list of Auto Arranger multis and patches, please see the Patches & Auto Arranger Multis 1.5 PDF.
The Auto Arranger (AA) is a feature exclusive to LA Scoring Strings that allows you to play polyphonic legato lines,
chords and phrase while splitting your chords into divisi sections or different instruments sections (if you prefer)
and maintaining an accurate player count as opposed to having the typical cumulative player count on chords
as with other stringed sample libraries. This auto divisi feature can be a HUGE time-saver as well as a VERY
inspirational composing tool. The Auto Arranger easily tracks the voices and splits them into divisi parts while
UHWDLQLQJDOOWKHOHJDWRSRUWDPHQWRJOLVVDQGRDUWLFXODWLRQV
Note: The Auto Arranger employs a look ahead feature that can be tailored to your playing style and may result
LQQRWLFHDEO\ODWHQF\7RFKDQJHWKHORRNDKHDGWLPLQJ\RXFDQGRVRLQWKH&KRUG'HWHFWLRQ&KRUGPVHOGLQ
the expert page. This look ahead latency can be reduced to an undetectable level especially on longer sustained
articulations, but you will have to play more accurately or quantize your performance.
To get a better understanding on how to use the Auto Arranger, please view the online or downloadable
video tutorials.
The Sustain Pedal

The sustain pedal works slightly different when AA is engaged to allow for a more convenient of the Auto Arranger. When
new notes are played while the sustain pedal is pressed (CC64 > 63), the divisi rules will be re-evaluated only for
the notes that are still held down. Releasing notes will not result in division rule re-evaluation, that aspect of the sustain
pedal mechanism is not altered.
Please note that the sustain pedal on non-legato sustain articulations will only work when AA is On.
37
Auto Arranger
Auto Arranger Basic Edit

The Auto Arranger script (AA) has two main screens: one for a general overview called Basic Edit (the default)
and another one for greater control, called Expert Edit.
7KH%DVLF(GLWSDJHKDVWKHIROORZLQJFRQWUROV
1
2
3
4
5
8
7
9
10
1. Divisi rules/Delay and Routs menu this allows you to navigate between the Auto Arranger and Delay and
Humanization pages.
2. Auto Arr. On/Off a button that indicates whether Auto Arranger is On or Off. If AA is Off, the instruments behavior
will be identical to the default LASS behavior.
3. AA Byp. CC you can set a CC to control the On/Off state of AA. This is by default CC30 on all patches.
4. Preset Divisi Role menu you can select a role for the patch, in which it should react to incoming notes when AA
is on. A role is essentially a preset of different divisi rules. For example A in 3-part means that the given patch
will act as a quarter divisi that gets assigned to the highest note. Please keep in mind, that these preset names try
to convey not only the role, but the division ratios as well. So the above role assumes that the other two divisis in the
3-part will be another quarter section and a half section. A 4-part means the solo-quarter-quarter-half section split.
5. Lo you can set the lowest note this patch will consider to play, any notes below this will be discarded.
6. Hi the highest note the patch will take into consideration when determining which note to play.
38
Auto Arranger
7. No Divisi Retrigger/Retrigger Divisi if this button shows Retrigger Divisi , then upon releasing a note the patch
will re-evaluate the remaining notes in the chord and select a new note to play according to its rules. If sustain pedal is
down and the patch gets assigned to the same note it had before itll play it again.
8. Presets menu you can store up to 12 Auto Arranger presets, you can select the currently used and edited one from
this menu.
9. Preset keyswitch menu you can select a preset via keyswitches, here you can reassign the selected preset to a
new keyswtich note. By default the 12 presets are mapped from F6 onwards (above).
10. Go to expert/basic edit switch between the two main views of the AA script.
Auto Arranger Expert Edit

1
3
2
4
5
6
7KH([SHUWHGLWYLHZRIIHUVDGGLWLRQDOHGLWLQJFDSDELOLWLHV
1. Play from chord menu which note should the patch play from the notes of the chord. This can be considered as
a main, general rule, regardless of any conditions. The notes are ordered in a descending order, only notes within the
patch range adjustable by Lo and Hi will be considered.
a) Note 1-12 play the highest, second highest, ..., 13th highest note
b) None do not play any note on this preset
2. If not present menu if the note selected in Play from chord is not present in the current chord, you can specify
what the patch should do.
a) 3OD\UVW the patch should play the highest note
b) Play closest the patch should play the closest note
c) Play none do not play anything
39
Auto Arranger
3. Change note the selected note can be transposed by +/- 1-4 octaves.
4. Chord ms the chord detection time. This sets the time-frame within which all notes of the chord should be pressed
down. Notes arriving after this time will be considered as notes of a new chord.
5. Rls ms the release time, how many milliseconds the selected note should play after key release. This is only
necessary for non-sustained legato playing, so that the Real Legato script will be able to play legato lines with the nonoverlapping fingered legato playing style. When the sustain pedal is down the release time will be discarded.
6. Set up sub-rules you can set up sub-rules or exceptions for a given chord note count situation, resulting in a
different note selection from the chord than specified by the Play from chord menu.
Set Up Sub-Rules
In the sub-rules page you simply have to toggle the note-counts youd like to assign a sub-rule to and select the
appropriate note from the menu appearing under the toggled button.
1
2
1. If <n> notes by toggling this button you can set a sub-rule when the chord held down consists of <n> notes.
2. Play note <n> menu which note to play, from 1, 2, , <n> or none.
3. Back to main rule return to the Advanced edit page.
40
CC Table Script
CC Table Script
1
2
3
4
The CC Table script is where you can change the way any sustain patches responds to the Mod Wheel (CC1).
Note: You can always go back to the default curves we programmed by choosing Default in the CC Curves
Preset Menu (item 2).
1. CC Table Menu This menu brings you to either the Dynamic Layers Table or the Volume Table.
2. CC Curve Presets Menu This menu allows yout to save the Dynamic Layers Table and the Volume Table to any
one of 10 presets .
3. CC Curve Knob Turning this knob allows you to choose from a variety of curves as opposed to drawing in your
won curves as described in items 5 and 6.
4. Smooth Button This button will smooth whatever curve is showing. You can use it multiple times to
increase smoothing.
41
CC Table Script
5. Dynamic Layers Table In this table you decide what dynamic layers (ppp, mp, f, ffff) are heard at specific CC1
values. Youll notice in the top table there are three yellow horizontal lines spanning the table and creating four tiers.
These four tiers roughly divide the table to illustrate the approximate ranges where the different dynamics are heard.
For example, if you drew a table where all the bars were in the ppp tier, then no matter what range your CC1 would
be at, youd hear only the ppp layer. This is convenient when you want to alter the CC1 playback response of certain
dynamic groups.
6. Volume Table In this table you basically draw the shape of the volume curve you want for the patch. When
used in conjunction with the Dynamic Layers Table, you have total control over which dynamic layers are played
at what volumes.
42
A.M.G. Script
A.M.G. Script
1
A.M.G. stands for Anti Machine Gun. The term machine gun is used to describe the sound of the same sample being
triggered over and over again. The A.M.G. script is used to eliminate the repetitive nature of samples by playing alternate
samples when you repeat the same notes. It is primarily used on the Pizzicato patches. This script is only found in
certain patches in Kontakts edit mode. Typically, you dont need to toch this... but its there if you need it on
some patches.
NOTE: Since A.M.G. borrows samples from higher or lower pitches than originally intended, there can be a slight
change in timbre. Sometimes this is a welcomed thing, at other times, it may distract you. Use your ears and
decide what works best for you under the circumstances.
TIP: If the changes in timbre (formant shift) are distracting to you, by blending the different divisi sections (A,B,C)
\RXFDQPDVNWKLVIRUPDQWVKLIWDQGVWLOOUHWDLQWKHEHQHWRIQRQUHSHWLWLYHVDPSOHV
1. A.M.G. monitor This window displays the status of A.M.G. modes. It will tell you whether you are in Round Robin
(RR) or Random mode (Rnd). For a detailed explanation of RR and Rnd, see the A.R.T. Script chapter.
2. Byp Key Switch This is the Bypass key switch. Click on it to change the Bypass key switch note.
3. Round Robin Key Switch Click on this button to change the Key Switch assignment for setting A.M.G. to RR mode.
When you play and hit the RR key switch note, A.M.G. will automatically reset the RR.
4. Random Key Switch Click on this button to change the RND key switch to your own liking. NOTE: there is a
display mistake in this script. Item 4 is supposed to read Rnd Key not RR.Key. This will be fixed in the next
LASS update.
5. ms This is the field in which you decide how many milliseconds of a window you want for chord detection. All notes
played within a certain number of milliseconds will be considered a chord and will result in the same note groups
being triggered.
43
Tuning Table Script
Tuning Table Script

1
3
4
5
6
7
8
The Tuning Table gives you the control to de-tune any note or groups of notes by as much as +/- 50 cents. This was
mainly designed to give each divisi section a little variety (tuning-wise) by drawing a curve in the tuning table and adding
some randomization to the tuning each time a note is played. I cant emphasize enough how much this feature can change
the character of a string section sound.
By default, this script is left as Bypassed (item 8). But I highly recommend that you familiarize yourself with this script
and experiment. Ive found that by tuning the different divisi sections apart from each other (subtly 10 cents or so) that it
somehow emphasizes the vibrato in each of the sections. For example, if you leave the divisi A section alone, but add about
10 cents to the divisi B and -10 cents to the divisi C... and have a little randomization (items 5 and 6), then a special magic
starts to happen. It can be subtle, but when applied to all the string sections, it can have a wonderful effect on the sound.
1. Tuning Table This is where you can draw a tuning curve. The center line = 0 cents and the top of the table is +50
cents, whereas the bottom of the table is -50 cents. Sometimes string players play a little sharp when playing in the
extreme upper registers... this can be drawn into the table and can help maintain that human sound. You can also
make the strings sound like a group of drunken sailors by using exaggerated tuning values in the table.
2. Note Activity This window displays what note you are playing. When the Script is Active (item 8), then youll see the
bottom table light up as you play. This helps you in gauging which notes you want to tune. NOTE: When an A.M.G.
script is active, you will see alternate notes in the lower table being triggered. Bypass the A.M.G. script so that you can
reliably see what you are doing while drawing your curves.
3. Clear This clears the table so that you have a clean slate to start from.
4. Preset You can save up to 5 presets in this drop-down menu. Each preset saves the tuning tables values,
plus the RND Hi and RND Low settings.
44
Tuning Table Script
5. Rnd Hi In this input field you can control the range of a positive random number range being added to the tables
tuning values. In this case, the Rnd Hi shows a value of 6. That means there will be a random pitch tuning of never
more than 6 cents above the actual Tuning Table.
6. Rnd Low In this input field you can control the range of a negative random number range being added to the tables
tuning values. In this case the Rnd Low shows a value of -5. That means there will be a random pitch tuning of never
more than 5 cents below the actual Tuning Table.
7. CC Byp This is the input field that allows you to choose the CC to control the Bypass button on the Tuning Script.
The default is CC90.
8. Bypass This button tells you the state of the Tuning script and is updated when you use CC90 (assigned to control
the Bypass button by default). You can also click this parameter with the mouse button.
45
LASS Impulse Responses (IRs)
LASS Impulse Responses (IRs)

/$6FRULQJ6WULQJVFRQWDLQVDYDULHW\RILPSXOVHUHVSRQVHUHYHUEVDQGHDUO\UHHFWLRQVWKDWZHUHFDUHIXOO\FUHDWHG
H[FOXVLYHO\IRU/$6FRULQJ6WULQJVE\,5JXUXDQGYHWHUDQ(UQHVW&KRODNLV+LVUHYHUEDQGHDUO\UHHFWLRQ,5VKDYHEHHQ
used by some of Hollywoods greatest composers and have found their way into countless movies. You can read more
about Ernest here:
www.numericalsound.com
7KHVHFDUHIXOO\FUHDWHG,5VDUHGHVLJQHGVSHFLFDOO\WRZRUNZLWK/$66%\DQDO\]LQJ/$66LQKLVRZQSURSULHWDU\ZD\
Ernest was able to develop IRs that react with LASS in ways that ordinary IRs simply cannot.
Although LASS was recorded on a large scoring stage with a good amount of air, some may want more of a hall early
UHHFWLRQVRXQGUDWKHUWKDQDVFRULQJVWDJHVRXQGZKLFKLVUDWKHUFRQWUROOHGDQGGU\E\FRPSDULVRQ:LWKWKHLQFOXGHG
LASS IRs, this can be achieved.
The IRs are divided into 2 types: ERVHDUO\UHHFWLRQVDQGTails. ERs are meant to provide you with the initial reverb
UHHFWLRQVZLWKLQFORVHUSUR[LPLW\RIWKHSOD\HUV7KHVHDUHJUHDWIRUSXVKLQJWKHSOD\HUVIXUWKHUEDFNLQPL[7KH7DLOV
DUHPRUHIRUWKHORQJHURYHUDOOEORRPUHYHUEHUDWLRQRIWKHKDOODQGKDYHQRHDUO\UHHFWLRQV7KHUHDUHQRUXOHVWRXVLQJ
reverbs. Just use your ears... if it sounds good... it IS good. Try experimenting by adding Pre Delay to the Tails.
As was mentioned before, the LASS ERs and Tails are intended to be used in a separate Convolution Reverb
software outside of Kontakt. Otherwise, you may use too much of Kontakts (and the host computers) resources.
IR Name
Description
LASS ER A through G
7KHVHHDUO\UHHFWLRQVNELWDOOKDYH5 different lengths: long, med-long, medium,

med-short and short. The difference between the A through G are in the attacks of the ERs.
Youll just have to experiment to see which ones you prefer.
LASS Tail A through C
These reverb tails (48k / 24 bit) all have 5 different lengths: long, med-long, medium, medshort and short. The difference between the A through C are mainly in the attacks of the Tails.
Again, youll just have to experiment to see which ones you prefer.
There are also Clear and Dark versions of all of the above mentioned IRs. They can be found in their respective folders
appended with the words Clear and Dark.
46
LASS Multis Examples

,QWKH0XOWLIROGHU\RXZLOOQGDYDULHW\RISUHPDGH/$660XOWLVWRJLYH\RXDQLGHDRIWKHGLIIHUHQWSDWFKFRPELQDWLRQV
and IR (Impulse Response reverbs) uses. These are meant mainly as examples since there are so many different ways to
combine LASS patches.
LASS Patch Multis:

Multi Name
Explanation
All Vlns Div Spiccatos
In this Multi you have the violins divisi sections (Vlns A, B, C,) assigned to the same midi
channel so that you can play all sections simultaneously. Note that if you have Kontakt
Sampler, you can alter the Delay and Humanization script settings to give each section
added variety. The same can be done with the A.R.T. settings.
All Vlns Div Staccatos
All Vlns Div leg LP
added variety.
All Cellos Div Spiccatos
In this Multi you have the cellos divisi sections (Vlns A, B, C,) assigned to the same midi
All Cellos Div Staccatos
All Cellos Div leg LP
added variety.
47
When playing the Spiccato or Staccato Multis, try using the A.R.T. Key Switches (discussed in the A.R.T. script section
of this guide) to see how all the instruments react together. Notice how they all stay synchronized. Of course, by changing
the Rnd Time values, you can experiment with looser timed feels. Although in this example all the instruments are on the
same midi channel (for demonstration purposes), it would probably be better to have them all on different midi channels so
that you could write independent divisi parts and control their dynamics independently.
Also, if you play rapid repetitions on the Spiccato or Staccato Multis, you may hear sample build-up which might not
sound natural. In this case, try riding the Mod Wheel up (this shortens the duration of the notes) and youll clean up the
sound and will hear more detail. In addition, this can remedy some noise build-up too. If on rapid repetitions you hear
hiss, try raising the Mod Wheel.
Try the same thing with the Legato Multis. All the legato patches will be on the same MIDI channel so you can see how
all the divisi instruments blend in real-time. But again, in real use it would be better (and advisable) for each divisi legato
patch to have its own MIDI channel so as to give you the ability to write divisi parts. If you want to have all the different
divisi reside on the same MIDI channel, you may want to explore using a Full Mix patch in place of the divisis. This will free
up both RAM resources and CPU usage.
A note about Spiccato Multis and Spiccato patches in general: The spiccato articulation is generally not a very loud
one. But depending on the music and arrangement at hand, it may be desirable to have the spiccato phrases cut
through the mix more than what might otherwise happen in a spiccatos true dynamic range. For this reason, the
Spiccatos (and Staccatos for that matter) have a wide dynamic range to accommodate most creative choices. If
you want to stay truer to the dynamic range, you may want to lower the volume of the higher velocity passages
ZLWK&&2UVLPSO\UHGXFLQJWKHPDLQYROXPH&&FDQEHHQRXJK
48
LASS IR Multi
There is an Impulse Response (IR) Multi in the Multis drop-down menu of the LA Scoring Strings library. This Multi is for
demonstration purposes only because it is not really recommended that you use IRs in Kontakt while running LASS. In all
likelihood, you will want to preserve any CPU power for actual LASS sample playback and not IRs. It is recommended that
you use your own high quality IR software in place of Kontakts Convolution plug-in.
When you go to the Multis menu, you will see a folder called Reverb Multi example. Grab the Multi and drag it to Kontakts
Instruments playback area. You will get a dialogue box asking you if youd like to replace the current Multi. Click on Yes to
load up the Reverb Multi example Multi.
Your screen should look somewhat like this:
Next, click on this button (upper left):
49
Next, click on these 2 buttons: Show Inserts, Edit Effect:

Your screen should now look like this at the bottom (except the aux 1 insert in slot 2 will not be orange...yet):
1
2
3
7
4
Make sure your Cellos Instruments Aux Sends are set to 0 for now:
. The aux 1 slider is
assigned to aux 1 of the mixer at the bottom, and in this example the LASS Tail A Long is inserted into aux 1 (item 5).
,I\RXSOD\VRPHQRWHVRQWKH&HOORVSDWFKDQG\RXVKRXOGKHDUDVWDJHHDUO\UHHFWLRQW\SHRIUHYHUE,I\RXFOLFNRQWKH
st.1 channel insert (item 4) you should see the name LASS ER A-long over the wave-from. In this case (used as an insert)
the DRY amount fader (item 2) should be set to 0 dB. Try experimenting with the WET fader (item 3) to hear how the
(5HDUO\UHHFWLRQUHYHUEVRXQGVDWGLIIHUHQWDPRXQWV:KHQ\RXDUHGRQHSOD\LQJZLWKWKHWKDW(5FOLFNRQWKH%\SDVV
button (item1) to bypass the ER and then click on the aux 1 insert (item 5).
50
Now that the st.1 insert is Bypassed, you can now raise the Cellos aux 1 fader
LASS Tail A-long reverb sounds.
to hear how the
Also experiment with the Pre Delay knob next to the Bypass button. This adds a little space at the top of the reverb and can
DGGGHQLWLRQWRWKHDWWDFNVWUDQVLHQWVRIWKHVRXQGV
Again, the LASS ERs and Tails are intended to be used in a separate Convolution Reverb software outside of
Kontakt. Otherwise, you may use too much of Kontakts (and the host computers) resources. For this reason,
the LASS IRs are in .wav format and can easily be imported into your favorite convolution reverb software. The LASS IRs
are located inside the Samples folder where the LASS sound library is installed.
TIP:7RJLYH\RXPRUHH[LELOLW\ZLWKXVLQJRXWVLGHUHYHUEVZLWK/$66DVVLJQHDFKRIWKHDX[FKDQQHOVWRLWVRZQ
output from your computer by clicking on the Conf button at the bottom of the aux channel. For example, your
PDLQVWHUHRRXWSXWVWZLOOSUREDEO\DOUHDG\EHDVVLJQHGWRRXWSXWV 7U\DVVLJQLQJDX[WRRXWSXWV
DX[WRRXWSXWV HWF7KHQLQ\RXUPL[LQJFRQVROHRU'$:ZKHUHYHULWLVWKDW\RXURXWHUHYHUEDVVLJQWKH
DX[DX[HWFFKDQQHOVWR\RXUUHYHUEVHQGV1RZZKHQHYHU\RXWXUQXSWKH$X[6HQGIDGHURQDQLQVWUXPHQW
youll be sending signal to your mixing console or DAW independently from Kontakts main stereo output.
51
24 Bit and 16 Bit
24 Bit and 16 Bit

LA Scoring Strings was recorded at a 48K sampling rate and at a 24 bit depth. All samples are enclosed in
1DWLYH,QVWUXPHQWVQN[OHIRUPDW<RXKDYHIXOODFFHVVWRWKHVDPSOHVIRUSURJUDPPLQJLQ.RQWDNWEXWQRWIRUHGLWLQJ
LASS comes in both a full 48K / 24 bit format and a reduced 48k / 16 bit format.
It is up to you to use whatever format best suits your hardware and needs. The greatest care was taken in converting
the 24 bit samples to 16 bit. This was the last process and a very good dithering algorithm was used in the process.
7KHEHQHWRIXVLQJWKHELWYHUVLRQLVDXGLRGHOLW\DOWKRXJKLWLVGHEDWDEOHZKHWKHUPDQ\ZLOOKHDUWKHGLIIHUHQFHVLQFH
all the samples are normalized and so much care was taken in the bit reduction process.
Using the 16 bit version will substantially reduce the impact LASS has on your hard disk. In combination with some of the
3 layer patches, you could reduce the hard disk work-load by 50% as compared to a 24 bit 4 layer patch:
24 bits X 4 layers = 96 bits of information
16 bits X 3 layers = 48 bits of information
The 24 bit version of LASS takes approximately 24 gigabytes of hard disk space whereas the 16 bit version takes about
16 gigabytes of space.
If you know you will only use one version and not the other, you can erase the version (bit depth) sample pool you dont
need, to free up hard disk space. Although it is recommended that you leave both versions on your hard drive.
NOTE:$OOWKHELWSDWFKHVHQGZLWKWKHBXQGHUVFRUHFKDUDFWHU$OVRDOOELWSDWFKIROGHUQDPHVHQGLQ
ELW7KLVLVGRQHVRWKDW\RXNQRZZKHWKHU\RXDUHORRNLQJDWELWIROGHUVRUSDWFKHVZKLOHVHDUFKLQJDQG
ORDGLQJIURPWKHEURZVHU7KHELWIROGHUVDQGSDWFKHVDUHQRWDSSHQGHGZLWKDQ\WKLQJRQO\WKHELWSDWFKHV
and folders.
52
Support
Support
Support for LA Scoring Strings can be accessed by joining LASSs private support forum at:
www.audiobro.com
This forum is designed to be much more than a technical support forum. In the spirit of a Living Library, new LASS
patches and Tips & Tricks will be posted on an ongoing basis. There will be a growing FAQ section and the latest versions
of patches, PDFs, EQ settings, scripts and other things posted there. Also, this is a place for users to give feedback and
suggestions.
So please visit the support forums even if you have no support needs. If for no other reason, you can download over
/$66,5VVSHFLFDOO\PDGHIRU/$66YLROLQVHFWLRQV... these are not included on the LASS DVD install.
53
Special Thanks
Special Thanks
Last, but absolutely not least, Id like to thank all the wonderful people who have helped me produce LA Scoring Strings.
First, I need to thank my beautiful wife, Jennifer, who supported me throughout this entire library process and for putting up
with my crazy schedule!! She did all the design and graphics for LASS: the website, packaging and manual. And a special
thank you to my kids for re-energizing me and keeping me grounded.
Thanks to Mark Evans who engineered the recording sessions and for doing an amazing job of capturing all the sections
individually. His experience, ears and equipment were irreplaceable in the creation of LASS.
Thanks to Sebastian Katz for being more helpful than I could have ever dreamed and Gabor Valasek for all his
wonderful coding.
Thanks to my beta team: Craig Sharmat, Colin OMalley, Frederick Russ, Ian Livingstone, Aaron Sapp and
Andy Blaney. These guys are the best! They are all talented full-time professional composers in their own right and all
of them are power users. I really knew that when these guys were testing LASS, I was getting real-world, in-the-trenches
type feedback.
Thanks to %REE\6XPPHUHOG who did a wonderful job engineering the prototype solo violin session that enabled me to
test my entire legato concept and engine.
Thanks to Garth Hjelte of Chicken Systems for all his wonderful help. I would not have been able to develop this library
without his Translator software.
Thanks to Peter Linlor and Gabriel Shadid for doing a wonderful job proofreading this manual. If there are any mistakes or
typos... I added them after the fact.
$QGQDOO\WKDQNYOU. Thank you for all the support and kind emails so many of you have shared during the development
of LASS.
54
User Notes
User Notes
---User notes area___122333

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What are the different sections included in LASS?

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What are continuous controllers and how are they used?

User Guide

Trill Script ......................................................................31

Basic Sustains ..............................................................33

Welcome to LA Scoring Strings ......................................4

Delay and Humanization Script ....................................35

LASS Full Install for Windows (5 DVD set) ..............5

Auto Arranger ...............................................................37

LASS Full Install for Mac OS X (5DVD set) .............5

The Sustain Pedal ..................................................37

Auto Arranger Basic Edit ...................................38

Instruments and Sections ...............................................7

Auto Arranger Expert Edit..................................39

Continuous Controllers ...................................................8

Set Up Sub-Rules ..................................................40

LASS Patches ........................................................ 11

A.M.G. Script ................................................................43

LASS Real Legato Patches .........................................13

Tuning Table Script .......................................................44

LASS Impulse Responses (IRs) ...................................46

Short Articulation Patches ............................................17

LASS Multis Examples .................................................47

LASS Patch Multis: ................................................47

LASS Real Legato Script ..............................................19

LASS IR Multi .........................................................49

The Performance Page ..........................................20

24 Bit and 16 Bit ...........................................................52

Legato Tweak Page be careful on this page!! ...22

Special Thanks .............................................................54

A.R.T. Auto Rhythm Tool...............................................25

Welcome to LA Scoring Strings

Welcome to LA Scoring Strings

LASS Full Installation under Mac OS X (5DVD set)

Instruments and Sections

Instruments and Sections

For cross-fading dynamic layers on all long articulations.

Used on all patches as the Main patch volume.

Used on all patches as an additional volume control.

Used to force legato phrasing on legato patches.

Speed = CC83 controls speed

1 player First Chair

16 player full section mix

1 player First Chair

16 player full section mix

1 player First Chair

1 player First Chair

10 player full section mix

1 player First Chair

8 player full section mix

use CC11 to control volume in addition to CC7 used as a master volume.

All sustain patches

use CC1 to control the different dynamic layers.

All Legato Speed patches

use CC83 to control the speed of the portamentos or glissandos.

All short articulations

use CC1 to shorten the duration of the notes.

LASS Real Legato Patches

5HPHPEHU Esp Leg = Espressivo Legato, L = Legato, P = Portamento and G = Glissando.

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7KHVHHDUO\UHHFWLRQVNELWDOOKDYH5 different lengths: long, med-long, medium,