USER MANUAL

1.0.11.0.2 EASTWEST | GOLIATH

IMPORTANT COMPATIBILITY NOTE!

Our Revolutionary New Opus Software Engine Our brand new Opus software engine has been years in development, and replaces the Play engine. All EastWest Libraries (with the exception of the original Hollywood Orchestra, the original Hollywood Solo Instruments, and the MIDI Guitar Series) are supported in Opus, allowing them to take advantage of a faster, more powerful, more flexible, and better looking software engine.

Opus comes with some incredible new features such as individual instrument down- loads, customized key-switches, new effects for the mixer page, scalable retina user interface upgrades for legacy products, a powerful new script language, and many more features that allow you to completely customize the sound of each instrument.

It’s one of the most exciting developments in the history of our company and will be the launching pad for many exciting new products in the future.

Using Opus and Play Together Opus and Play are two separate software products, anything you have saved in your projects will still load up inside the saved Play version of the plugins. You can update your current/existing projects to Opus if you so choose, or leave them saved within Play.

After purchasing or upgrading to Opus you do not need to use Play, but it may be more convenient to make small adjustments to an older composition in your DAW loading the instruments saved in Play instead of replacing them with Opus. For any new composi- tion, just use Opus.

A Note About User Manuals All EastWest Libraries have their own user manuals (like this one) that refer to instru- ments and controls that are specific to their respective libraries, as well as referencing the Play User Manual for controls that are common to all EastWest Libraries.

For EastWest Libraries supported for use within Opus, we highly recommend taking advantage of all the powerful new features it has to offer.

Reference this user manual for details related to the instruments and controls specific to this library and, in place of the previously mentioned Play Software Manual, refer to the Opus Software Manual from the link below instead.

OPUS SOFTWARE MANUAL: https://media.soundsonline.com/manuals/EW-Opus-Software-Manual.pdf

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The information in this document is subject to change without notice and does not rep- resent a commitment on the part of East West Sounds, Inc. The software and sounds described in this document are subject to License Agreements 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 East West Sounds, Inc. All product and company names are ™ or ® trademarks of their respective owners.

© East West Sounds, Inc., 2008. All rights reserved.

East West Sounds, Inc. 6000 Sunset Blvd. Hollywood, CA 90028 USA

1-323-957-6969 voice

1-323-957-6966 fax

For questions about licensing of products: [email protected]

For more general information about products: [email protected] http://support.soundsonline.com

iii EASTWEST | GOLIATH

1. Welcome

2 About EastWest 3 Producer: Doug Rogers 5 Producer: Nick Phoenix 6 Credits 7 How to Use This and the Other Manuals 8 Online Documentation and Other Resources

1 EASTWEST | GOLIATH

Welcome

About EastWest EastWest (www.soundsonline.com) has been dedicated to perpetual innovation and un- compromising quality, setting the industry standard as the most critically acclaimed producer of Sample CDs and Virtual (software) Instruments.

Founder and producer Doug Rogers has over 30 years experience in the audio industry and is the recipient of many recording industry awards including “Recording Engineer of the Year.” In 2005, “The Art of Digital Music” named him one of “56 Visionary Artists & Insiders” in the book of the same name. In 1988, he founded EastWest, the most criti- cally acclaimed sound developer in the world, and recipient of over 50 industry awards, more than any other sound developer. His uncompromising approach to quality, and in- novative ideas have enabled EastWest to lead the sound-ware business for 20 years.

In 1997 Rogers partnered with producer/composer Nick Phoenix and set up Quantum Leap, a wholly owned division of EastWest, to produce high-quality, no-compromise sam- ple libraries and virtual instruments. Quantum Leap virtual instruments are mostly pro- duced by Nick Phoenix. Some of the larger productions, such as Symphonic Orchestra, Symphonic Choirs and Quantum Leap Pianos are co-produced by Doug Rogers and Nick Phoenix. As a composer, Phoenix began scoring film trailers and television commercials in 1994. To date, he has either scored or licensed music for the ad campaigns of over 1000 major motion pictures including Tomb Raider 2, Terminator 3, Lord of the Rings Return of the King, Harry Potter 2, Star Wars Episode 2, Spiderman 3, Pirates of the Caribbean 3, Blood Diamond, Night at the Museum, and The Da Vinci Code. Quantum Leap has now firmly established itself as one of the world’s top producers of high-end sample libraries and virtual instruments.

In 2006, EastWest purchased the legendary Cello Studios (formerly United Western Re- corders) on Sunset Boulevard in Hollywood, re-naming it EastWest Studios. The 21,000 sq. ft. facility, since remodelled by master designer Philippe Starck, houses five record- ing studios and is the world headquarters for EastWest.

Chapter 1: Welcome 2 EASTWEST | GOLIATH Producer: Doug Rogers Doug Rogers has over 30 years experience in the audio industry and is the recipient of many recording industry awards including “Recording Engineer of the Year.” In 2005, “The Art of Digital Music” named him one of “56 Visionary Artists & Insiders” in the book of the same name.

In 1988, he founded EastWest, the most critically acclaimed sound developer in the world, and recipient of over 50 industry awards, more than any other sound developer. His uncompromising approach to quality, and innovative ideas have enabled EastWest to lead the sound-ware business for 20 years. In the late eighties, he released the very first commercial drum sample CD, and followed it with the multiple-award-winning “Bob Clearmountain Drums” sample collection.

In the years that followed he practically reinvented the sound-ware industry. EastWest introduced loop sample libraries to the market in the early nineties, followed closely by the first midi-driven loops (Dance/Industrial). He released the first sample library to include multiple dynamics, followed by the first sample library to stream from hard disk, an innovation that led to the detailed collections available today. His recent productions of Symphonic Orchestra (awarded a Keyboard Magazine “Key Buy Award,” EQ Maga- zine “Exceptional Quality Award,” Computer Music Magazine “Performance Award,” and G.A.N.G. [Game Audio Network Guild] “Best Sound Library Award”); and Symphonic

Chapter 1: Welcome 3 EASTWEST | GOLIATH Choirs (awarded Electronic Musician “2006 Editor’s Choice Award,” G.A.N.G. “Best Sound Library Award,” and Keyboard Magazine “Key Buy Award”). He persuaded audio legend Prof. Keith O. Johnson to record EWQLSO and EWQLSC, and came up with the revolutionary idea of recording all instruments and voices with 3 simultaneous stereo mic setups so users can control the tone of the performances and the acoustics of the concert hall, as well as create surround sound mixes.

His latest productions include Quantum Leap Pianos, another 3 mic setup, and the most detailed virtual piano collection ever produced; and Fab Four, inspired by the sounds of the Beatles, featuring the same kind of vintage instruments and original EMI/Abbey Road recording equipment as the Beatles used to create their music. He persuaded audio legend Ken Scott, who was involved in the recording of five Beatles albums, and engineer for “Magical Mystery Tour” and “The Beatles” (also known as the White Album) to work with him on Fab Four.

He also acquired one of Hollywood’s most famous recording studio complexes in 2006, formally United Western (now EastWest Studios), recipient of more engineering awards and RIAA certified Gold and Platinum recordings than any other studios worldwide. He persuaded top international design superstar Philippe Starck to redesign the non-techni- cal areas of the studios. Over the last decade he has partnered with producer/composer Nick Phoenix and set up the Quantum Leap imprint, a subsidiary of EastWest, to pro- duce high-quality, no compromise sample libraries and virtual instruments. EastWest/ Quantum Leap virtual instruments are considered the best available and are in daily use by the who’s who of the industry.

His latest technical achievement was unveiled at the 2007 NAMM convention - the world’s first 64-bit audio engine named PLAY, which powers EastWest/Quantum Leap’s latest suite of virtual (software) instruments.

Chapter 1: Welcome 4 EASTWEST | GOLIATH Producer: Nick Phoenix Nick began scoring film trailers and television commercials in 1994. To date, he has either scored or licensed music for the ad campaigns of over 1000 major motion pic- tures. “Rendition,” “Spider-Man 3,” “Golden Compass.” “The Assassination of Jesse James,” “Pirates of the Caribbean 3,” “Babel,” “Hitman,” “I Am Legend,” “300,” “No Country For Old Men,” “Harry Potter 5,” “The Brave One,” “Wall-E,” “Blood Diamond,” “Speed Racer,” and “Night at the Museum” are a few recent examples. Nick and Thomas Ber­gersen founded the ultimate trailer music company “Two Steps From Hell” in 2006. www.twostepsfromhell.com.

Nick has also scored numerous TV shows for NBC, CBS, Showtime, and Fox. “In Pot We Trust,” a Showtime original film, is playing in the fall of 2007.

The journey as a composer has also inspired Nick to record and program his own sounds and samples. Nick founded Quantum Leap Productions in 1997 and Quantum Leap has since grown to be the world’s top producer of high-end virtual instruments. A 10‑year partnership with Doug Rogers and East West has yielded countless award winning soft- ware titles such as Stormdrum, Symphonic Orchestra, Symphonic Choirs, RA, Voices of Passion, Ministry of Rock, Gypsy, QL Pianos, VOTA, QL Brass, QL Guitar and Bass, Hardcore Bass, Goliath, and Colossus.

Nick’s studio is located in Venice, California, and is 100% solar powered.

www.nickphoenix.com

Chapter 1: Welcome 5 EASTWEST | GOLIATH Credits

Producers Nick Phoenix and Doug Rogers

Engineering Nick Phoenix, Doug Rogers, Prof. Keith O. Johnson, Ken Scott

Editing and Programming Arne Schulze, Claudia Phoenix, Rhys Moody, James Rickabaugh, Jared Selter, Jimbo Head, Justin Harris, Nick Phoenix, Pacemaker, Pierre Martin, Tony Austin

Art Direction Doug Rogers, Nick Phoenix, Steven Gilmore, Shaun Elwood

Software Klaus Voltmer, Patrick Stinson, Stefan Kersten, Klaus Lebkücher, Thomas Merkle, Sam Fischmann, Stefan Podell, David Kendall, Doug Rogers, Nick Phoenix, Nick Cardinal, Stefan Leiste, Rhys Moody, Jonathan Kranz, Jason Coffman

Manual John Philpit

Special Thanks to Ashif Hakik, Michiel Post from PMI

Chapter 1: Welcome 6 EASTWEST | GOLIATH How to Use This and the Other Manuals All documentation for the EastWest PLAY Advanced Sample System and its libraries is provided as a collection of Adobe Acrobat files, also called PDFs. They can be viewed on the computer screen or printed to paper.

Each time you install one of the PLAY System libraries, two manuals are copied to the file system on your computer: • The manual that describes the whole PLAY System. This, the largest of the manuals, addresses how to install and use all aspects of the software that are common to all libraries. • The library-specific manual, such as the one you are currently reading. This smaller document describes aspects that differ from one library to the next, such as the list of included instruments and articulations. Using the Adobe Acrobat Features By opening the Bookmarks pane along the left edge of the Adobe Acrobat Reader, the user can jump directly to a topic from the section names. Note that some older versions of Acrobat Reader might not support all these features. The latest Acrobat Reader can be downloaded and installed at no cost from the Adobe web site. (As an example of a hyperlink, you can click on the last word of the previous sentence to be taken directly to the Adobe site.)

When reading this and other manuals on the computer screen, you can zoom in to see more detail in the images or zoom out to see more of the page at once. If an included picture of the user interface, or a diagram, seems fuzzy or illegible, then zoom in using one of several means provided in the Acrobat Reader software. Online Documentation and Other Resources For the most up to date information, visit the support pages at EastWest’s web site. There you can find: • information made available after these manuals were written • FAQ pages that may already list answers to questions you have • suggestions from EastWest and other users of the EastWest PLAY System • news about upcoming releases

The address is: http://support.soundsonline.com

Chapter 1: Welcome 7 EASTWEST | GOLIATH

2. Quantum Leap Goliath, An Overview

10 The Design Point for the Goliath Library 11 What’s Included 11 Hardware Requirements

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Quantum Leap Goliath, An Overview

The Design Point For the Goliath Library Quantum Leap Goliath is an extension of Quantum Leap Colossus, the first, super high quality, complete sound set ever created. This new and expanded library includes hun- dreds of instruments. It is a massive 40-gigabyte (not megabyte) virtual instrument that covers all of the basic musical genres, the way a keyboard workstation attempts to, ex- cept Goliath offers much higher quality than any keyboard available today.

Quantum Leap Goliath now uses the EastWest PLAY Sample Engine, which can run on a Macintosh computer or a Windows PC, and on both 32-bit and 64-bit platforms. Read more about that system in the PLAY System Manual, which accompanies this one.

Quantum Leap Goliath is an indispensable tool that you will reach for time and time again when nothing else works. It will become your Swiss army knife of composing. Plus, it’s General MIDI compatible! You can expect the usual EastWest/Quantum Leap quality in Goliath.

Even if you own some of these instruments in other packages, you will love this collec- tion. A good example is the Fender Rhodes. Despite the fact the Rhodes has been suc- cessfully sampled many times, Goliath includes a unique vintage-sounding Rhodes you won’t find anywhere else.

Like its predecessor Colossus, Quantum Leap Goliath includes 17 Gigs of new sounds recorded at Ocean Way Studio B (24-bit), a 2 Gig piano recorded in Europe, and 15 Gigs from the award-winning range of Quantum Leap and EastWest titles, all newly pro- grammed for Colossus and Goliath with superior sound quality due to the features and improved audio quality of the included EastWest PLAY Sample Player.

Goliath builds on Colossus by adding the PMI Bosendorfer 290 piano and many other instruments, a total of 8 GB of new samples.

Programming is kept very simple, and programs that utilize the Mod Wheel are labeled appropriately. All programs have CC11 (MIDI Control Code 11) as an additional volume control. Many programs utilize auto-alternation of samples, also called round-robin tech- nology, for added realism.

For touring musicians, this is the ultimate instrument to have on the road or in a club. Goliath has incredible instruments of every type (check out the complete list in Chap- ter 4). For song-writing, filmscoring, multi-media production, in the studio, or on stage, Quantum Leap Goliath has you completely covered.

Chapter 2: Quantum Leap Goliath, An Overview 9 EASTWEST | GOLIATH See the Quantum Leap Goliath product page at www.soundsonline.com for a list of which instruments are new—that is, were not in Colossus—as well as other information about this product. What’s Included This Quantum Leap Goliath library you purchased includes all the following: • a complete set of sample-based instruments, enumerated later in this manual • approximately 40 Gigabytes of 24-bit, 44.1 kHz samples • the EastWest PLAY Advanced Sample Engine • the unique authorization code that identifies the license you bought • manuals in Adobe Acrobat format for both the EastWest PLAY System and the Quan- tum Leap Goliath Virtual Instrument • an installation program to set up the library, software, and documentation on your computer • an Authorization Wizard for registering your license in an online database

One required item not usually included is an iLok security key. If you already have one from an earlier purchase of software, you can use it. Otherwise, you need to acquire one. They are available from many retailers that sell EastWest and Quantum Leap products, or you can buy one online at www.soundsonline.com. Hardware Requirements See the PLAY System manual for a complete list of the Hardware and Software Require- ments for installing and running any PLAY System library. In addition, the available space on the hard drive required for a full installation of Goliath is approximately 40 GB (Gigabytes).

Chapter 2: Quantum Leap Goliath, An Overview 10 EASTWEST | GOLIATH

3. The Quantum Leap Goliath User Interface

14 Round Robin Reset Button 14 Stereo Double Controls 14 Filter Controls 15 ADT Controls 15 The Graphical Representation of the Envelope 16 The Browser View

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The Quantum Leap Goliath User Interface

Each library presents its own interface when one of its instruments is the current one, as specified in the Instruments drop-down in the upper right corner. The image at the bot- tom of the page provides an overview of the entire window when in Player View.

Much of this interface is shared by all PLAY System libraries, and the common features are described in the PLAY System manual. The controls described here are: • Round Robin Reset • Stereo Double • Filter • ADT • the graphical representation of the Envelope

Chapter 3: The Quantum Leap Goliath User Interface 12 EASTWEST | GOLIATH Round Robin Reset Button A round robin articulation is one in which several different samples are recorded with all parameters, such as volume, speed of attack, and so on, being essentially constant. The PLAY Engine then knows to alternate between the two or more samples during playback. The goal is to avoid what’s often called the “machine gun effect,” in which playing the same sampled note repeatedly causes the unnatural sound of consecutive notes being mechanically identical.

There’s one potential problem with round robin technology, and one way to solve it is the Round Robin Reset button. The PLAY Engine remembers which sample should be played the next time the note sounds. If, for example, a round-robin patch contains two samples, A and B, and a piece uses that note 7 times, the PLAY Engine plays A B A B A B A. If the piece is played again from the beginning, the engine will play starting with B, because that’s next in order. The second rendition will be subtly differ- ent. Being able to reset all round-robin articulations to the beginning of the cycle allows for consistent playback.

You can use this button to reset all round robin articulations on demand. Or use your choice of a MIDI note or MIDI control code to reset them one instrument at a time from a MIDI keyboard or the data stored in a sequencer project. See the description of the Settings dialog for more information about this articulation-specific approach. Stereo Double Controls This knob, with its three buttons, gives the user the option of using ex- clusively the left stereo signal or right when “Stereo” is selected from the Channel Source drop-down. For any other setting, this control has no ef- fect.

The knob lets the user determine the spread of the signals, how far apart the ear perceives the stereo channels to be. A value of 0% brings the two channels to- gether at the center (unless the Pan knob positions the output differently), and is the equivalent of turning off the controls with the button below the knob. A value of 100% call for the maximum spread available. Select between the left and right signal with the buttons on either side of the knob. Filter Controls The Filter controls take the sound of the instrument, and modify it by filtering out some of the sound above a certain frequency. This type of effect is commonly called a Low Pass Filter.

The Frequency knob determines where the sound starts to be filtered out. The Resonance knob specifies how much the filter “rings” at the dialed frequency. The higher the resonance knob is set, the more fo- cused this ringing becomes.

Chapter 3: The Quantum Leap Goliath User Interface 13 EASTWEST | GOLIATH The graph gives you visual cues about the frequency distribution you are creating with the settings you select. ADT Controls Artificial Double Tracking is a technique, invented at Ab- bey Road when the Beatles were recording there, that ap- proximates the effect of double tracking (recording two nearly identical takes of a vocalist or instrument on the same part and laying one on top of the other) without actually taking the time to record two takes. And some would say ADT improves on actual double tracking even beyond the savings in time. The original ADT process was based on magnetic tape; in the PLAY Engine, the effect is cre- ated digitally. The software programmers, however, added a tape simulator to mimic the slight speed variations of the two analog tape machines that created the ADT effect.

The Delay knob specifies in milliseconds, the delay between the original signal and the secondary signal. A delay of around 40 ms is typical, so is often a good starting point when crafting a specific effect.

The Depth knob specifies the amount by which that delay is modulated. You don’t want an exactly consistent delay; the delay of the secondary signal will vary forward and back- ward in time by this much.

The Speed knob varies the speed at which that delay is modulated.

The Level knob specifies the relative loudness of the secondary signal. Set it to 0.0 dB to hear the effect at its strongest, with the same level on both signals; higher or lower gives preference to one of the signals. The overall effect depends on their combination.

The On/Off button allows you to kill the ADT effect instantly and then reinstate it with the same settings, as needed.

The Graphical Representation of the Envelope The Envelope Controls are described in the main PLAY System manual because they are common to all PLAY System librar- ies. Only some libraries include the graph, as shown here, so it is included in the manuals for those libraries only.

Note that the total width of the graph represents the total length of all phases of the envelope. Therefore, when you change something in one part of the graph, for example, the decay, you may see the slopes of other components, the at- tack and the release, change as well because those phases become a larger or smaller percent of the whole; this is as expected.

Chapter 3: The Quantum Leap Goliath User Interface 14 EASTWEST | GOLIATH The Browser View The Browser behaves identically among all PLAY System libraries. Read the main PLAY System manual for information about how to use that view.

Chapter 3: The Quantum Leap Goliath User Interface 15 EASTWEST | GOLIATH

4. Collections and Instruments

18 Organization of the Goliath Collections 19 Tables of the Instruments 33 Abbreviations Used in Instrument Names

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Collections and Instruments

This chapter provides specific information about each of the instruments in the Goliath library. First is a section that lists the several collections that appear in the Browser. This is followed by a series of tables that provide for each collection a table of the available instruments. Be sure to read the notes before each table for some hints about usage. You might want to print out the pages containing these tables as a reference. Organization of the Goliath Collections The Goliath library is organized into the following collections based on the type of in- struments included. In the Browser window of the EastWest PLAY System, you will see the following folders when you select “Goliath” from the Favorites pane. The indented names are subfolders that appear when the containing folder is selected. The numbers in parentheses are the numbers of instruments in each collection. • Acoustic Drumkits (17) • Acoustic Guitar Family (11) • Choir Bank ʳ EWQL Choirs (10) ʳ Men’s Choir (5) ʳ Soloists (6) ʳ Women’s Choir (7) • Electric Bass and Upright (15) • Electric Guitar (50) • Electronic Drumkits (26) • Ethnic Percussion (9) • Ethnic Pitched (42) • GM Bank ʳ 001-8 Piano (8) ʳ 009-16 CromPerc (8) ʳ 017-24 Organ (8) ʳ 025-32 Guitar (8) ʳ 033-40 Bass (8) ʳ 041-48 Strings (8) ʳ 049-56 Ensemble (8) ʳ 057-64 Brass (8) ʳ 065-72 Reed (8) ʳ 073-80 Pipe (8) ʳ 081-88 Synth Lead (8)

Chapter 4: Collections and Instruments 17 EASTWEST | GOLIATH ʳ 089-96 Synth Pad (8) ʳ 097-104 Synth Effects (8) ʳ 105-112 Ethnic (8) ʳ 113-120 Percussive (8) ʳ 121-128 Sound Effects (8) • Keyboard Mallet Instr (15) • New Age Ensembles (19) • Orchestra (39) • Pianos E. Pianos (24) • PMI Bosendorfer 290 (2) • Pop Brass ʳ 3 Saxes (1) ʳ 3 Trumpets (9) ʳ Alto Sax (8) ʳ Bari Sax (6) ʳ Bone (10) ʳ Flugel Horn (1) ʳ Salsa Trumpet (5) ʳ Soprano Sax (2) ʳ Tenor Sax (9) ʳ Trumpet (23) ʳ Tuba (2) • Stormdrone MOD ʳ 4 way high morphs (11) ʳ 4 way low morphs (12) ʳ 4 way low to high morphs (48) ʳ Stormdrum Lost Rhythms (6) • Synth Bass (14) • Synth Leads (11) • Synth Pads (38) • Vintage Organs (25) Tables of the Instruments The following tables, presented in two columns per page, list all the instrument files of Quantum Leap Goliath. They are organized in the same order as in the list above, start- ing on the next page.

Note that some instruments have “FX” at the end. This means on-board Goliath effects have been added to those programs. It would have been done for the whole library, but the effects are so CPU-intensive, it would cause trouble on less capable computers. So sounds were chosen that can best use the effects. The programs with no added effects are in the library as well.

Chapter 4: Collections and Instruments 18 EASTWEST | GOLIATH Acoustic Drumkits ACOUSTIC GUITAR FAMILY All kits in the first table are GM kits Banjo (General MIDI) that auto-alternate be- tween left- and right-hand hits. For hi- Classical Guitar hats, the pedal hat closes the open hat. Concert Guitar In some kits, the pedal hat is on Bb Mandolin below the kick drum. See a later table Ukelele for electronic drumkits. Choir Bank ACOUSTIC DRUMKITS Four types of choirs are represented in 60's Vintage Kit Quantum Leap Goliath. Each has its Country Kit own section in the table below. Those Funk Kit 1 instruments with “MOD” in the name respond to the Mod Wheel, which Funk Kit 2 crossfades between vibrato and non- Jazz Kit Brushes vibrato. You may want to add some Jazz Kit Sticks reverb. Ludwig Kit Stage Metal Kit EWQL CHOIRS Nick's Kit 1 EWQL Choirs Nick's Kit 2 Altos Oh MOD FX Old School Kit Altos Oh MOD Pro Kit Basses Oh MOD FX Rock Kit 1 Basses Oh MOD Rock Kit 2 Boys oh MOD FX Stage Kit Boys oh MOD Studio Kit Sopranos Oh MOD FX Sushi Kit Sopranos Oh MOD Tenors Oh MOD FX Acoustic Guitar Family Tenors Oh MOD ACOUSTIC GUITAR FAMILY Men’s Choir 1890 Washburn GTR Fngr Mens Choir ah MOD 1890 Washburn GTR Pick Mens Choir ah-mm MOD 1890 Washburn GTR Strm Mens Choir ee MOD 2 Guitars Mens Choir oh MOD Acoustic God Sus Mens Choir Shouts Acoustic God Soloists continued Boy solo oh continued

Chapter 4: Collections and Instruments 19 EASTWEST | GOLIATH EWQL CHOIRS before it hits the effects chain. It helps a lot. Fem Vox Ah Fem Vox Bulg “56s B” stands for a 56 Strat bridge pickup and “56s N” for a 56 Strat Fem Vox EeAah neck pickup. Fem Vox Oh Women’s Choir ELECTRIC GUITAR Non vib Oohs 56s B Big Strummer Women's choir ah-mm MOD 56s B Effects Womens Choir ah MOD 56s B Lead Womens Choir ee MOD 56s B Mellow Strummer Womens Choir oh MOD 56s B Mute Pop Womens Choir oo MOD 56s B Power Chrd Chugs 56s B Surf Spy Electric Bass and Upright 56s N Finger ELECTRIC BASS AND UPRIGHT 56s N Hawaiian Strum 66 Silvertone 56s N Lead 72 Rickenbacker 56s N Mute Pop Fat Rock Pick 56s N Mute Fender 5 Str finger 56s N Power Chords Fretless Bass 56s N Strummer Lakland Finger Anderson Strat Lakland Pick Blues chug power chrd SLAP BASS 1 Blues Crunch VS SLAP BASS 2 Blues Rythym 567 Stingray Bluesmaster Lead Upright Bass Exp 1 Cloudwalk Lead Upright Bass Exp 2 Death Chrd Upright Bass FX Distortion GTR Upright Bass Vibrato Electric Bluegrass Upright Bass Electric GTR (clean) Electric Guitar Electric GTR (Mute) Fender BUZZ chug sus All instruments in this folder have the Mod Wheel controlling a filter. This is Grunge SUS4 a crucial control if you are going to GTR Harmonics use these samples with guitar plug-ins. continued Use this filter to mellow out the sound

Chapter 4: Collections and Instruments 20 EASTWEST | GOLIATH ELECTRIC GUITAR ELECTRONIC DRUMKITS Hard Rock Rhythm Beans & Rice Kit Heavy GTR Chords RR Berlin Kit Heavy GTR LowNotes RR Boo-Yah Kit J Jones Electric Sitar Broken Bot Kit Jazz GT Finger Bruno Kit Jazz GT Pick UDRR Bush is a Fairy Kit Lapsteel Cannibal Kit Les Paul Chug RR Distressed DrumZ 88 Les Paul Lead Hamburg Kit Moody Lap Steel fx Hotstove Kit Mutron 3 Auto-WAH Innit Kit Overdriven GTR Live Evil Kit Pink Strat MC LE Kit PRS Chords Nicks Beatbox Rectifier Pwr Chrds Old Skool Neve Rockabilly Chords 88 Radiostatic Anamoly Rockabilly Lead Rascal Kit Ska Rhythm Rhespekt Kit Spooky Lead S&M Kit Stereo Leslie 145 Strat Technorganic Kit 88 Swollen Pickle Pwr Chrd Yakasha Kit Tele Sus Vib Ethnic Percussion Electronic Drumkits “88key” or “88” refers to all the white These are generally MIDI kits. All of keys of an 88-key keyboard. them have been created from heavily processing acoustic samples, which ETHNIC PERCUSSION gives them an original flair. Custom Congas Ethnic Drums 88key ELECTRONIC DRUMKITS GM Percussion 120 Rhythmic Synth FX Tablas 508 Kit Taiko Drums 908 Kit Tambourines Alberto Kit Tibet Alley-g Kit continued continued

Chapter 4: Collections and Instruments 21 EASTWEST | GOLIATH ETHNIC PERCUSSION ETHNIC PITCHED Tiny Ethnic Perc Ney Flute Tong Zi Set Ocarina MOD Pan Flute MOD FX Ethnic Pitched Pan Flute MOD These are simple, but very playable in- Sarangi struments. More highly detailed ethnic instruments are available in Quantum Shakuhachi MOD FX Leap RA. Shakuhachi MOD Shamisen FX ETHNIC PITCHED Shamisen Agogo Bells Shehnai FX Bagpipe Shehnai Cora FX Sitar FX Cora Sitar Didjeridoo FX Thai Gong Didjeridoo Uilleann Pipes FX Duduk 2 FX Uilleann Pipes Duduk 2 Duduk 3 FX GM Bank Duduk 3 This is the world’s first 14 GB General MIDI bank. Most (but not all) of these Duduk FX programs can also be found in other Duduk folders in this library. The GM bank is Dulcimer mostly for convenience and to adhere Erhu FX to a standard. Erhu GM BANK Fiddle MOD FX 001-8 PIANO Fiddle MOD 1-Classical Piano Irish Low Whistle FX 2-Bright Piano Irish Low Whistle 3-Electric Grand Kalimba FX 4-Honky-Tonk Kalimba 5-Electric Piano 1 Koto FX 6-Electric Piano 2 Koto 7-Harpsichord Mid-East Strings 8-Clavinet Ney Flute FX continued continued

Chapter 4: Collections and Instruments 22 EASTWEST | GOLIATH GM BANK GM BANK 009-16 CROMPERC 38-SLAP BASS 2 09-Celeste 39-Synth Bass 1 MOD 10-Glock 40-Synth Bass 2 MOD 11-Music Box 041-48 STRINGS 12-Vibraphone 41-Violin 13-Marimba 42-Viola 14-Xylophone 43-Cello 15-Tubular Bells 44-Contrabass 16-Dulcimer 45-Tremelo Strings 017-24 ORGAN 46-Pizzicato Strings 17-Drawbar Organ MOD 47-Orchestral Strings 18-Perc Organ MOD 48-Timp 19-Rock Organ MOD 049-56 ENSEMBLE 20-Church Organ 49-String Ensemble 1 21-Reed Organ 50-String Ensemble 2 22-Accordian 51-Synth Strings 1 23-Harmonica 52-Synth Strings 2 24-Tango Accordian 53-Choir Aahs 025-32 GUITAR 54-Voice Oohs 25-Ac. GTR (Nylon) 55-Synth Voice 26-Ac. GTR (Steel) 56-Orchestra Hit 27-Electric GTR (jazz) 057-64 BRASS 28-Electric GTR (clean) 57-Trumpet 29-Electric GTR (Mute) 58-Trombone 30-Overdriven GTR 59-Tuba 31-Distortion GTR 60-Muted Trumpet 32-GTR Harmonics 61-French Horn 033-40 BASS 62-Brass Section 33-Upright Bass 63-Synth Brass 1 34-El. Bass (Finger) 64-Synth Brass 2 35-El. Bass (Pick) 065-72 REED 36-Fretless Bass 65-Soprano Sax 37-SLAP BASS 1 66-Alto Sax continued continued

Chapter 4: Collections and Instruments 23 EASTWEST | GOLIATH GM BANK GM BANK 67-Tenor Sax 097-104 SYNTH EFFECTS 68-Baritone Sax 97-FX (rain) 69-Oboe 98-FX (Soundtrack) 70-English Horn 99-FX (Crystal) 71-Bassoon 100-FX (Atmosphere) 72-Clarinet 101-FX (Brightness) 073-80 PIPE 102-FX (Goblins) 73-Piccolo 103-FX (Echoes) 74-Flute 104-FX (Sci-Fi) 75-Recorder MOD 105-112 ETHNIC 76-Pan Flute MOD 105-Sitar 77-Blown Bottle 106-Banjo 78-Shakuhachi MOD 107-Shamisen 79-Human Whistle 108-Koto 80-Ocarina MOD 109-Kalimba 081-88 SYNTH LEAD 110-Bagpipe 81-Blockhead Lead MOD 111-Fiddle MOD 82-Organic Lead MOD 112-Shehnai 83-Aisle 5 Lead MOD 113-120 PERCUSSIVE 84-Antennae Lead MOD 113-TinkerBell 85-Planetary Lead MOD 114-Agogo Bells 86-CS80 Lead 2 MOD 115-Steeldrum 87-Cadabre Lead MOD 116-WoodBlock 88-Insect Lead MOD 117-Taiko Drums 089-96 SYNTH PAD 118-Melodic Toms 89-Pad 1 (New Age) 119-Synth Toms 90-Pad 2 (Warm) 120-Reverse Cymbal 91-Pad 3 (Polysynth) 121-128 SOUND EFFECTS 92-Pad 4 (Choir) 121-Guitar Fret Noise 93-Pad 5 (Bowed) 122-Human Breath 94-Pad 6 (Metallic) 123-Seashore 95-Pad 7 (Halo) 124-Bird Tweet 96-Pad 8 (Sweep) 125-Telephone continued continued

Chapter 4: Collections and Instruments 24 EASTWEST | GOLIATH GM BANK NEW AGE ENSEMBLES 126-Helicopter Heartstone 127-Applause Insects and Old Shoes 128-Gun Shots Perfect Garden Psychotropic Pillow Keyboard Mallet Instr Rivensong KEYBOARD MALLET INSTR Spiritual Warrior Accordian Sri Lanka Celeste Stone Therapy Church Organ Sultan Concertina Sundial Glock Traveller Harpsichord Weeping Dragon Italian Accordion Marimba Orchestra Music Box ORCHESTRA Reed Organ Bassoon Tango Accordian Brass Section Tutti Fluti Celeste Vibraphone Cello Xylophone Cellos Legato MOD Cellos Marcato RR New Age Ensembles Clarinet These are combinations of new ethnic, Concert Harp hammered or plucked instruments and pads. They work well for film scores as Contrabass well. English Horn Flute Staccato NEW AGE ENSEMBLES Flute Vibrato Legato Andreus Kugelschreiber Flute Bird of Peace French Horn Cambot French Horns MOD Chi and Chang Glock Crystal Tower Oboe Deep Breathing Orc Trumpet Fallen continued continued

Chapter 4: Collections and Instruments 25 EASTWEST | GOLIATH ORCHESTRA first became interested in the GS-1 as a teenager watching Brendt Midland Orchestra Hit play it with the Grateful Dead. Other Orchestral Kit famous GS-1 users were, Stevie Won- Orchestral Strings der, Toto, Jerry Goldsmith and Vange- lis. Piccolo Pizzicato Strings PIANOS E. PIANOS Solo Violin Aggressive 80s E-Piano Solo Violin Medium Clavinet Full String Ensemble 1 Clavinet String Ensemble 2 CP-80-FM Timp CP-80 Tremolo Strings Creeepy Piano Trombone Fazioli F308 1 gig-Bright Trumpet Fazioli F308 2 gig Trumpets Staccato GS-1 Hybrid Piano Tuba GS-1 Percussive Piano Tubular Bells GS-1 Rhodes Boosted-Tine Viola GS1 - ep1 ENS Violin GS1 - ep1 Violins Legato MOD GS1 - ep2 ENS Violins Marcato RR Honky-Tonk Xylophone New e piano Pianos E. Pianos Piano Strings 1 The Fazioli F308 is the largest and Piano Strings 2 most expensive piano they make. It Piano Strings 3 was recorded in a famous hall in Eu- Pop Piano Strings rope. The Steinway B is the full version Psychedellic Rhodes of EastWest Steinway B. Everything else is newly recorded material. Rhodes 88 Suitcase Steinway B The Fender Rhodes is a Mark V Suit- case with the Chuck Monte Upgrade PMI Bosendorfer 290 recorded through its original amp and speaker and appears courtesy of Don PMI BOSENDORFER 290 Griffin. B290 Dry 16 layers The GS-1 is the first FM keyboard ever B290 Wet 16 layers made. Only 100 were ever produced. It cost $14,000 in 1981. Nick Phoenix

Chapter 4: Collections and Instruments 26 EASTWEST | GOLIATH Pop Brass POP BRASS Many of these instruments use the Mod TB flutterCRESC Wheel to switch between samples. TB ft POP BRASS TB jazz2 3 Saxes TB mpvib 3SaxSplitPOPSHOT TB slideFX MOD 3 Trumpets TB stac 3 TP cupmutes TB susp_mf 3 TP falls MOD TB wah 3 TP ft MOD TBf alls MOD 3 TP legshort Flugel Horn 3 TP rupfall FlugelHornSUSVB 3 TP shakedoit MOD Salsa Trumpet 3 TP stac Salsa Tpt longfall RR 3 TP sus MODfilter Salsa Tpt shake 3 TP susvb Salsa Tpt shortfall RR Alto Sax Salsa Tpt stac RR A Sax doit trill MOD Salsa Tpt sus A Sax exp Soprano Sax A Sax exp2 MOD SopSaxexp A Sax jazz1 MOD SopSaxfalls MOD A Sax leg ft Tenor Sax A Sax leg sus T Sax B_Webster A Sax noisefx T Sax exp AS falls MOD T Sax falls MOD Bari Sax T Sax flutter B Sax 4up T Sax fts B Sax exp T Sax jazz1 MOD B Sax jazz MOD T Sax noise fx B Sax PPanther T Sax runup B Sax stac T Sax VBFF B Sax sus Trumpet Bone Jazz Trumpet TB fastJAZZ TP cupmute continued continued

Chapter 4: Collections and Instruments 27 EASTWEST | GOLIATH POP BRASS was originally taken. The closer the playback to this note, the better the TP doitshkfl MOD sound quality. TP falls1 MOD In the Stormdrum subfolder, the num- TP jazz1 ber in the name refers to the beats-per- TP legpf minute (bpm) of the rhythm. TP miles straightF MODAIR TP milesmoody MOD STORMDRONE MOD TP minidamoocha 4 way high morphs TP moody Achtung Lady (Hi) TP noisesfx Butcher's Blade (Hi) TP plngrrip MOD Genesis (Hi) TP plngrwahflt MOD Hellrunner (Hi) TP plungervb MODfilter Lament for Trevor (Hi) TP plungervb Mists (Hi) TP ripsolo Monsoon (Hi) TP screamerHIGHFX MOD Nascimento (Hi) TP shakes Soundwarrior (Hi) TP stacfort MOD Stargate (Hi) TP susmf The Highlands (Hi) TP vbf MODfilter 4 way low morphs TP vib Apollo (Lo) TP wahfst Demon's Lair (Lo) Tuba Intrusion (Lo) Tuba God Modern Nature (Lo) Tuba slurs Night Passing (Lo) Pacemaker (Lo) Stormdrone MOD Sin Drome (Lo) This folder contains atmosphere instru- Slow Burn (Lo) ments derived exclusively from heav- ily processed ethnic, orchestral, and Spartans Revolt (Lo) sound effects samples. The loops are The Abyss (Lo) roughly 60 seconds long and the pos- The Monarchs (Lo) sibilities are endless. Thunderdoom (Lo) In these instruments, the Mod Wheel 4 way low to high morphs controls a 4-way crossfade. AC-DC If a note name (e.g., C3) is provided, continued that’s the note at which the sample

Chapter 4: Collections and Instruments 28 EASTWEST | GOLIATH STORMDRONE MOD STORMDRONE MOD Affliction (C3) Snakepit (Bb2) Aural Assault (A2) Spawn (A2) Awakenings (F3) Spitfire (C3) Cannibal Call (C3) Submarine (G3) Chaos Theory (C3) The Birds (A2) Cloak Room (F3) The Dusk Wars (E3) Death Song (C3) The Hive (C3) Dogfight (E3) The Unborn (C3) Faithlful Aversion (A2) Tidal cycles (F1) Foreword (C3) Time-Worm (A2) Gatekeeper (C3) Torpedo (A2) Godhead (D3) Uniform Alienation (B2) Hard Knocks (E3) Unions of Atoms (C3) Hell-Fire (F#3) Wall Of Breath (D3) Horizon (E3) Stormdrum Lost Rhythms Icebox (Bb2) Double Data Rate 161 Labyrinth (Eb3) Hella Scared 133 Malhavoc (C3) Mastercraft 182 Martyrdom (C3) Metal Zone 135 Megalopolis (A2) Railslide 158 Metrolpolis (A2) Rising Sun 155 Ministry (C3) Motorcade (F#3) Synth Bass The Mod Wheel crossfades between Necessitation (C3) two different bass programs. Netherworlds (C3) Palehead (D3) SYNTH BASS Preying Machine (C3) Club Bass MOD Regeneration (C3) CS80 Bass 1 MOD Salt Mines (Soft) CS80 Bass 2 MOD Sand & Locusts (C3) Fuzz Bass MOD Sewer Tunnels (C3) Hollow Bass MOD Sin Hound (D3) Juicy Bass MOD Sixth Sense (C3) Nicks Modular 1 MOD continued continued

Chapter 4: Collections and Instruments 29 EASTWEST | GOLIATH SYNTH BASS SYNTH PADS Nicks Modular 2 MOD Dhali Pad Nicks Modular 3 MOD Dupiter Strings Obertime Bass MOD FX (Atmosphere) Short Bite Bass MOD FX (Brightness) Steroid Bass MOD FX (Crystal) Sub Sonic Bass MOD FX (Echoes) Trance Dance Bass MOD FX (Goblins) FX (rain) Synth Leads FX (Sci-Fi) The Mod Wheel crossfades between FX (Soundtrack) two different lead programs. GS1 - Glass SYNTH LEADS GS1 - Strings Aisle 5 Lead MOD Meditation Pad Antennae Lead MOD Men From Manilla Pad Blockhead Lead MOD Neptune Strings Cadabre Lead MOD Orchestral Strings CS80 Lead 1 MOD Orion Pad CS80 Lead 2 MOD Pad 1 (New Age) Insect Lead MOD Pad 2 (Warm) Limburger Lead MOD Pad 3 (Polysynth) Monolith Lead MOD Pad 4 (Choir) Organic Lead MOD Pad 5 (Bowed) Planetary Lead MOD Pad 6 (Metallic) Pad 7 (Halo) Synth Pads Pad 8 (Sweep) Many of the instruments in this folder StarVars use the Mod Wheel to control a filter. String Ensemble 1 SYNTH PADS String Ensemble 2 Collossus Pad Synth Strings 1 CS80 Blade Brass Synth Strings 2 CS80 Orchestra Transendental Voices CS80 Organic Pad Warm Pad 2 CS80GS1OBstrings X-mas Pad continued

Chapter 4: Collections and Instruments 30 EASTWEST | GOLIATH Vintage Organs VINTAGE ORGANS B3 blues organ MOD B3 blues organ P2 MOD B3 blues organ P3 MOD B3 full organ MOD B3 jazz organ MOD B3 jazz organ P2 MOD B3 jazz organ P3 MOD B3 rock organ MOD B3 rock organ P2 MOD B3 soul organ MOD B3 soul organ P2 MOD B3 soul organ P3 MOD Farfisa A Farfisa B Farfisa C Farfisa D Farfisa E Farfisa F Farfisa Perc Farfisa Split (AD) Farfisa Split (CB) Farfisa Split (FD) Farfisa Split (FE) Vox Combo Organ Vox Continental

Chapter 4: Collections and Instruments 31 EASTWEST | GOLIATH Abbreviations Used in Instrument Names The names of instruments are often shortened to fit in the instrument list in the Browser View. The following table provides a way to look up any unfamiliar abbreviations until you become familiar with the shortcuts.

ABBREVIATIONS IN INSTRUMENT NAMES Abbreviations Full Words exp expressive ft flutter tongue fx effects leg legato mf mezzo-forte (half loud) mp mezzo-piano (half soft) MOD controlled by Mod Wheel nv non-vibrato rr round robin (auto-alternation) stac staccato sus sustain vib Vibrato

Chapter 4: Collections and Instruments 32 EASTWEST | GOLIATH EASTWEST/QUANTUM LEAP LICENSE AGREEMENT

EASTWEST END USER LICENSE AGREEMENT: Please read the terms of the following audio samples License Agreement before using these audio samples. By opening the packaging and installing these audio samples, you agree to become bound by the terms of the License Agreement. If you do not agree with the terms of the License Agreement, do not open the packaging or use these audio samples. East West Sounds, Inc. (“Licen- sor”) guarantees that all of the samples with these discs have been created and record- ed specially for this project, and any similarity to any other recording is unintentional. 1. The audio samples recorded with these discs remain the property of Licensor and are licensed, not sold, to you for use with your sampling software or equipment. 2. A right to use the enclosed sounds is granted to the original end-user of the product (Licensee) and is NOT transferable. 3. The Licensee may modify the sounds. LICENSEE MAY USE THE SOUNDS FOR COMMERCIAL PURPOSES WITHIN MUSICAL COMPOSITIONS. 4. The following terms apply to the use of loops (compositions that contain a combination of sound samples that can be repeated to form a continuous piece of music) used in ‘music or production libraries’ that are relicensed to multiple third parties. (1) Loops must be used in a musical context with at least two other instruments that contribute significantly to the composition. (2) The entire loop cannot be left exposed at any time in the com- position. (3) If you have any doubts a composition meets this criteria, you may submit it to [email protected] for written approval. Please do not send audio or MP3 files, send us a link to your composition on your web server. 5. This license expressly forbids resale, relicensing or other distribution of these sounds, either as they exist on these discs, or any modification thereof. You cannot sell, loan, rent, lease, assign, upload to or download from any server, or transfer all or any of the enclosed sounds to another user, or for use in any competitive product. 6. Licensor will not be responsible if the contents of these discs does not fit the particular purpose of the Licensee. If in doubt over usage, please contact East West Sounds, Inc. by fax: (USA) 323-957-6966 or email: [email protected]. ALL RIGHTS RESERVED. ©2007 EAST WEST SOUNDS, INC. • Windows XP/Vista are registered trademarks of Microsoft Corporation. Pentium is a registered trademark of Intel. VST Instruments is a registered trademark of Steinberg Media technologies AG. OS X, Audio Units and Core Audio are registered trademarks of Apple, Inc. All other product and company names are trademarks of their respective holders. All specifications are subject to change without notice.

License Agreement 33