Garritan Personal Orchestra Sibelius Edition User Guide

Garritan Personal Orchestra
Sibelius Edition
User Guide
Edition 1
November 2005
User Guide written by Daniel Spreadbury, with contributions by Gary Garritan,

Tom Hopkins, Reuben Mitchell and David Harvey.
Project Manager: Bill Marten
Producer: Gary Garritan
Director of Programming: Tom Hopkins
Director of Software Development: Jeff Hurchalla
Sibelius sound set programming: Reuben Mitchell and David Harvey
Please email any suggestions you have for improvements to this User Guide
to docs@sibelius.com.
Garritan Personal Orchestra Sibelius Edition User Guide copyright © Sibelius

Software Ltd. 2005.
Published by Sibelius Software Ltd., The Old Toy Factory, 20–22 City North, Font-
hill Road, London N4 3HF, UK
All rights reserved. This User Guide may not be reproduced, stored in a retrieval system or transmitted in
any form or by any means – electronic, recording, mechanical, photocopying or otherwise – in whole or
in part, without the prior written consent of the publisher. Although every care has been taken in the
preparation of this User Guide, neither the publisher nor the authors can take responsibility for any loss or
damage arising from any errors or omissions it may contain.
Sibelius, the Sibelius logo, Scorch, Flexi-time, Espressivo, Rubato, Rhythmic feel, Arrange, ManuScript,
Virtual Manuscript Paper, House Style, SoundStage, Opus, Inkpen2, Helsinki, magnetic, multicopy, Opti-
cal, Dynamic parts, the blue notes and double helix logos, SibeliusMusic.com, SibeliusEducation.com,
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marks or registered trademarks of Sibelius Software Ltd. in the USA, UK and other countries. All other
trademarks are acknowledged as the property of their respective owners.
Garritan Personal Orchestra® is a registered trademark of Garritan Corp. Use of the Garritan Personal
Orchestra® library and the contents herein are subject to the terms and conditions of the license agree-
ment distributed with the library. You should carefully read the license agreement before using this prod-
uct. The sounds presented in Garritan Personal Orchestra® are protected by copyright and cannot be
distributed or copied, whether modified or unmodified. Kontakt™ is a trademark of Native Instruments
GmbH. Steinway™ is a trademark of Steinway & Sons and is used by permission. VST™ is a trademark of
Steinberg. The information contained herein may change without notice.
Contents
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Installation on Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Installation on Mac OS X . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Technical help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Getting started 9
GPO in five minutes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Choosing a sound set . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Choosing instruments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
What Sibelius interprets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Basic percussion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Advanced use 27
Setting up Kontakt Player . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Garritan Personal Orchestra Options . . . . . . . . . . . . . . . . . . . . . . . . . 30
Fine-tuning your performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Strings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Woodwinds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Brass . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Percussion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Keyboards and harp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Appendices 47
Appendix A: List of instruments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Appendix B: Percussion instrument mappings . . . . . . . . . . . . . . . . . 66
License Agreement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Garritan Personal Orchestra Sibelius Edition User Guide
Introduction
We have all cherished the sound of a symphony orchestra. Orchestral music is
everywhere around us – in the movies, on television, in interactive games, live
performances, radio and in public venues. It is hard to escape the power and influ-
ence that orchestral music has. What makes orchestral music so expressive and
vibrant is its wide variety of instruments.
Sometimes we might even wonder how it feels to conduct an orchestra or how our
music would sound in the hands of a capable orchestra. New computing and sam-
pling technology now makes this possible.
We have put together a package that will allow you to realize your creative poten-
tial. The following presents some of the outstanding features of Personal Orches-
tra:
* A complete orchestra at your fingertips: Garritan Personal Orchestra is an afford-
able, easy-to-use and thoroughly comprehensive orchestral library. It includes
all the major instruments of the orchestra: strings, brass, woodwinds, percus-
sion and keyboards.
* Highest-quality orchestral instruments: includes quality instruments such as a
Steinway™ piano, a Stradivarius violin, Guarneri and Gagliano Violins, Wurl-
itzer harp, Haynes flutes, Heckel bassoons and many other exquisite instru-
ments.
* No sampler required: the entire orchestral library is integrated with the Native
Instruments Kontakt™ Player and works directly within Sibelius. No need to
purchase a separate sampler.
* Notation integration: Sibelius can automatically realize great-sounding orches-
tral playback directly from the score.
* Suited for everybody: professional film composers can use this collection for
quick orchestral sketches and capturing creative ideas. Hobbyists can use it for
adding orchestrations to their tracks. Educators and students can use it for
scoring projects or studying orchestration.
Garritan Personal Orchestra is a dynamic library with a very active community.
Please check www.garritan.com or www.sibelius.com for the latest up-to-date
information, FAQs, troubleshooting, helpful hints and tutorials.
4
Installation on Windows
Installation on Windows
System requirements
Requires 2GB hard disk space (in addition to Sibelius 4); Windows XP (or some
Windows 2000 configurations); DVD drive; Sibelius 4.1 or later. Additionally:
* Scores that use up to about 8 different sounds: 1.8GHz processor or faster, 1GB+
RAM (1.5GB+ recommended), preferably ASIO-compatible sound card.
* Scores that use up to about 20 different sounds: 2.5GHz processor or faster,
1.5GB RAM. ASIO-compatible sound card strongly recommended (not sound
chip on motherboard), preferably separate graphics card.
* Scores that use reverb or more than 20 different sounds will need a faster proces-
sor and more RAM.
Before you install

Before you install GPO Sibelius Edition, you should ensure you have already
installed Kontakt Player Silver (and Kontakt Gold, if you have it), and have
installed the latest updates from your Sibelius 4 CD-ROM.
You should also ensure that you are running Sibelius 4.1 or later (check the version
number in Help > About Sibelius). You can download the latest version by choos-
ing Help > Check For Updates.
Installing Garritan Personal Orchestra
* Quit Sibelius, if it is running.
* Insert your Garritan Personal Orchestra Sibelius Edition DVD into your DVD-
ROM drive, label side up. After a few moments, an installation program will
start automatically.
* Click Next, then I Accept.
* You will be prompted for a serial number, which you will find on a label inside
the DVD case that your GPO Sibelius Edition disc came in.
* Installation will use the same location as your existing Kontakt Player Silver or
Gold installation. Click Next.
* Adjust the name/location of the Start menu icon group, if you can be bothered,
then click Next.
* A progress bar will appear as everything is installed to your hard drive. Beware
that the time estimate given on the screen is normally wrong by an order of
magnitude, and it may take several minutes to install everything.
* You will be told that installation has completed successfully. Click Finish.
* Now turn to GPO in five minutes on page 10 to get started.
5
Installation on Mac OS X
System requirements
Requires 2GB hard disk space (in addition to Sibelius 4); Mac OS 10.3.9 or later;
DVD drive; Sibelius 4.1 or later. Additionally:
* Scores that use up to about 8 different sounds: G4/G5, 1GB+ RAM (1.5GB+ rec-
ommended).
* Scores that use up to about 20 different sounds: 1.8GHz processor or faster,
1.5GB+ RAM.
* Scores that use reverb or more than 20 different sounds will need a faster proces-
sor and more RAM.
Before you install

Before you install GPO Sibelius Edition, you should ensure you have already
installed Kontakt Player Silver (and Kontakt Gold, if you have it), and have
installed the latest updates from your Sibelius 4 CD-ROM.
You should also ensure that you are running Sibelius 4.1 or later (check the version
number in Sibelius > About Sibelius). You can download the latest version by
choosing Help > Check For Updates.
Installing Garritan Personal Orchestra

* Quit Sibelius, if it is running.
* Insert your Garritan Personal Orchestra Sibelius Edition DVD into your DVD-
ROM drive, label side up. An icon will appear on your desktop; double-click it.
* In the window that appears, double-click Install GPO Sibelius Edition.
* You will be prompted to authenticate, so enter your password and click OK.
* You will see a license agreement; click Continue, then Agree.
* Click Install.
* You will be prompted for a serial number, which you will find on a label inside
the DVD case that your GPO Sibelius Edition disc came in.
* A progress bar will appear as everything is installed to your hard drive. It may
take several minutes to install everything, so be patient.
* You will be told that installation has completed successfully. Click Quit.
* Now turn to GPO in five minutes on page 10 to get started.
6
Technical help
Technical help
Before seeking technical help, please ensure that your query is not answered by
the Handbook, tutorial videos, Sibelius Reference or the online Help Center:
choose Help > Help Center in Sibelius, or visit www.sibelius.com/helpcenter.
You can also ask your question on the chat page in the online Help Center, where
you can get help from other Sibelius users.
We provide help on installing Garritan Personal Orchestra Sibelius Edition and
using it with Sibelius. If you have problems with your computer, printer, sound-
card, MIDI equipment, scanner, web site, or other software, we will only be able to
offer general advice and may not be able to help – your hardware/software or
Internet provider is ultimately responsible for solving this kind of problem.
How to get help

Please use email, fax or mail rather than phoning if you do not need an immediate
response.
If you phone for help, have this User Guide and a pen and paper to hand when
you call, and be in front of your computer if possible.
Please contact the technical help center for the country where you bought Garri-
tan Personal Orchestra Sibelius Edition. Technical help may be limited or unavail-
able between 24 December and 1 January.
* Australia: Sibelius Australia Pty Ltd., 2/52 Weaver St, Edwardstown, SA 5039,
tel: 08 82 771 722, fax: 08 82 771 799, email: soundshelpAU@sibelius.com
* Austria: Weiss & Kadlec GmbH, Triester Strasse 261, A-1230 Wien, tel: 01 667
45390, fax: 01 667 453921, email: info@weiss-kadlec.at
* Belgium, Netherlands, Luxembourg: Music Electronics, Klokkengieterijstraat
21, 9160 Lokeren, Belgium, tel: (+32) 09 348 5508 (Wednesday-Saturday 10.00-
12.30 & 14.00-18.00, Sunday 14.00-18.00), fax: (+32) 09 348 2386, email:
info@muselec.be
* Czech Republic & Slovakia: Disk Multimedia s.r.o., Nam.9 Kvetna 2, Boskovice
680 01, Czech Republic, tel: 0501 454 769, fax: 0501 456 363, email:
disk@disk.cz
* Denmark: New Musik, Sindalsvej 48B, Risskov, DK-8240, tel: 0 87 32 87 00, fax:
0 87 32 87 01, email: info@newmusik.dk
* Finland: Carbo’n Music Oy, Kauppatie 8, 04300 Tuusula, tel: 0207 411 370,
email: info@carbonmusic.fi
* France: Steinberg France, 17 rue Curie, 94270 Le Kremlin Bicêtre, tel: 01 46 77
42 40, fax: 01 46 77 42 41, email: sibelius@steinberg.fr
7
* Germany: M3C Systemtechnik GmbH, Grossbeerenstr. 51, 10965 Berlin, tel:
030 789 0790 (Monday-Friday 13.00-17.00), fax: 030 785 6849,
email: support@m3c.de
* Greece: Nakas Music House SA, 19km Leoforos Lavriou, Peania, 190 02, tel: 01
210 668 6000, fax: 01 210 668 6108, email: s.beratis@nakas.gr
* Hungary: Midisoft Studio kft, Szuglo u.54, 1145 Budapest, tel: 1 467 3310 / 1
469 0699, fax: 1 467 3323, email: midisoft@mail.datanet.hu
* Iceland: Tonastodin, Skipholt 50d, 105 Reykjavik, tel: 552 1185, fax: 562 8778,
email: tonastodin@tonastodin.is
* Ireland: One Source Computer Services, Connect House, 115 Cork Street, Dub-
lin 8, tel: 01 453 1233, fax: 01 454 5495, email: source@indigo.ie
* Italy: Midiware, Via Cassia 1081, 00189 Rome, tel: 06 3036 3456 (Monday and
Thursday afternoons), fax: 06 3036 3382, email: supporto@midiware.com
* New Zealand: Computer Music Systems, PO Box 8, Helensville, tel: 09 420 9952,
fax: 09 420 9957, email: info@computermusic.co.nz
* North, Central & South America: Sibelius Technical Help, 1407 Oakland Blvd.,
Suite 103, Walnut Creek, CA 94596, USA. Email:
soundshelpusa@sibelius.com, fax: 1-925-280-0008, tel: 1-925-280-2101,
Monday to Friday 7:00am to 4:00pm PST, except holidays.
* Norway: Siv. Ing. Benum AS, PO Box 145, Vinderen, Oslo 0319, tel: 22 13 99 00,
email: post@benum.no
* Poland: Media Business Solutions, 21 Chelmska St. bud. 4 p. 41, 00-724 Warsaw,
tel: 048 22 851 10 40, fax: 048 22 851 10 41, email: info@mbspro.com.pl
* Singapore & Malaysia: Graphic Edumedia, 61 Kaki Bukit Ave 1, #04-20 Shun Li
Industrial Park, Singapore 417943, tel: 674 93656 / 674 95691, fax: 065 674
95691, email: gmmrkc@pacific.net.sg
* South Africa: Tuerk Music Technologies, Commercial City, Cnr. Tungsten &
Hans, Strydom Park, PO Box 1016, Randburg 2125, tel: 011 792 8402, fax: 011
792 8465, email: hohner@hot.co.za
* Spain: Microfusa, Sepulveda 134, Barcelona 08015, Spain. Fax: 93 347 19 16, tel:
93 435 36 82.
* Sweden: Fitzpatrick AB, Box 7292, 187 14 Taby, tel: 08 587 915 00, fax: 08 587
915 99
* Switzerland: Giant Electronics Ltd., PO Box 142, Rue du Controle 15, 2501
Bienne, tel: 032 322 5274, fax: 032 322 5278, email: bonjour@giant.ch
* UK: Technical Help, Sibelius Software Ltd., The Old Toy Factory, 20–22 City
North, Fonthill Road, London N4 3HF. Email: soundshelpUK@sibelius.com,
fax: 020 7561 7888 (+44 20 7561 7888), tel: 020 7561 7997 (+44 20 7561 7997)
Monday-Friday 10am-6pm UK time except public holidays.
8
Getting started
Getting started
GPO in five minutes

Using Garritan Personal Orchestra Sibelius Edition is very simple. To get great-
sounding playback, all you have to do is:
* Choose the appropriate sound set for your score
* Adjust the default choice of sounds in Sibelius’s Mixer window, if required
* Ensure your score is marked up appropriately with dynamics, hairpins, slurs,
trills, and so on
* Hit the Play button and listen to the results of your handiwork!
Choosing an appropriate sound set

Because Garritan Personal Orchestra has more than 280 sounds, we’ve supplied a
number of different sound sets suited to a variety of ensembles to help Sibelius
choose the most appropriate default sounds for your score.
So once you know what forces you’re writing for:
* Choose Play > Playback and Input Devices
* On the Playback Devices page, ensure that Kontakt Player is set as your
default device (on Windows, this means that the Use column is set to Yes for
Kontakt Player and to No for all other devices, and on Mac, Kontakt Player
should be selected and blue in color)
* Under the Sound set column, choose the most appropriate sound set, e.g. GPO
Modern Orchestra, GPO String Orchestra, or GPO Kontakt Gold Combo
* Click OK to close the dialog.
For help in choosing which sound set is most appropriate for which kind of score,
see Choosing a sound set on page 12.
Adjusting the default choice of sounds

Each of the sound sets includes a reasonable set of default sounds for your score’s
playback. If you discover, however, that you prefer the lush violin sounds to the
standard sectional violin sounds, simply open Sibelius’s Mixer window, select the
fader for the staff whose sound you want to modify, and choose the desired sound
from the Sound menu. For help with using the Mixer window, refer to 4.2 Mixer
in Sibelius Reference.
For more information about when you may want to adjust the default choice of
sounds, see Choosing instruments on page 15.
Marking up your score
Unlike other advanced sample libraries, Garritan Personal Orchestra Sibelius Edi-
tion is integrated into Sibelius itself, so there’s no need to jump through any of the
10
GPO in five minutes
hoops normally associated with getting great sample playback from a notation
application.
You don’t need to insert a whole new staff when you want your violin to switch
from arco to pizz. You don’t need to add hidden notes to activate a keyswitch. You
don’t need to laboriously record in modulation wheel changes or sustain pedal
MIDI messages to achieve volume changes or legato.
Instead, you simply mark up your score with normal, musical markings: add slurs
for legato, add hairpins for volume changes, add up-bow and down-bow articula-
tions for quick runs of string notes, add “pizz.” and “arco” as text. Sibelius inter-
prets all of these markings automatically to take advantage of many of the
advanced capabilities of the Garritan Personal Orchestra library.
For more information about exactly which markings Sibelius interprets, see What
Sibelius interprets on page 19.
Just hit Play

When you’re ready to hear your music brought to life, just click the Play button in
the Playback window, or hit Space. If you need help with the Playback window,
see 4.1 Playback in Sibelius Reference.
If the necessary sounds haven’t been loaded into the Kontakt Player, they’ll now
load. A progress bar will then appear for a moment while Sibelius analyses your
score and creates the appropriate controller messages. (If you have View > Hidden
Objects switched on you may notice lots of small gray text items drawn above the
staves in your score – don’t worry, they’ll disappear again when you stop play-
back.)
You’ll then hear your score played back with greater realism and expression than
ever!
How to use the Kontakt Player

To show or hide the Kontakt Player window, choose Window > Kontakt Player
(shortcut Ctrl+Alt+O or zXO).
Refer to the 4.9 Kontakt Player topic in Sibelius Reference for further details
about how to use the Kontakt Player interface.
11
Getting started
Choosing a sound set

Because Garritan Personal Orchestra contains more than 280 different sounds, we
have provided 10 different sound sets designed for different ensembles, so you can
in each case choose from a different subset of specially-targeted sounds drawn
from the whole collection.
How to change sound set

* Choose Play > Playback and Input Devices
* Click in the Sound Set column to show the menu of sound sets, as shown:
* Choose the desired sound set, then click Close to confirm your choice.
See 4.10 Playback and input devices in Sibelius Reference for more help on
using this dialog.
GPO sound sets

The 10 supplied sound sets are as follows:
* GPO 32 Slot Orchestra: This is the best sound set for quickly setting up and
playing back any score. Only 32 instruments are available, to fit into the 32 slots
of the Kontakt Player, and each instrument has been carefully chosen to allow
the best overall coverage of most orchestral scores without having to spend time
changing sounds in the Mixer. Standard orchestral instrument staves in Sibelius
will default to the closest-matching instrument, and non-orchestral instrument
staves will default to piano, so you will never encounter staves in your score
remaining silent during playback.
* GPO Baroque Orchestra: All the string instruments and their variants are
included in this sound set, along with all the pipe organ sounds, to allow maxi-
mum variation and choice. Period wind and brass instruments are chosen
where available. Only the timpani and basic orchestral percussion instruments
are available. This sound set is ideal for the kinds of forces used in Bach or Han-
del oratorios and concertos.
12
Choosing a sound set
* GPO Chamber Ensembles: A flexible sound set consisting of all the solo
instruments in the collection, as well as most of the ensemble (Plr) instruments,
allowing you to build ensembles from individual instruments to your own
requirements. A comprehensive set of percussion and keyboards, including the
piano duo instruments, means just about every chamber ensemble possibility is
covered.
* GPO Classical Orchestra: This sound set has an emphasis on strings, including
as many variations and effects as possible. Percussion is trimmed back, but
there is a full complement of keyboard instruments, as well as most of the wind
and brass sounds. This sound set is ideal for the kinds of forces used in
Beethoven symphonies.
* GPO Keyboards and Percussion: This sound set gives access to all the key-
boards and percussion sounds in the library, some of which are not available in
any other set.
* GPO Kontakt Gold Combo: This sound set is only suitable for use if you
already have Kontakt Gold installed as well as GPO Sibelius Edition. It com-
bines the best of both Kontakt Gold and GPO, allowing access to the instru-
ments otherwise not represented in GPO, such as voices, guitars and bass
guitars, euphonium, Rhodes keyboard and saxophones.
* GPO Modern Orchestra: This is intended to be an all-purpose sound set, fea-
turing guitar and tenor sax from the Kontakt Player Silver/Gold library and
offering the best set of options for winds, brass, percussion and strings. It has
only a few solo strings and fewer keyboards but almost all the percussion
options, catering more for the colorful orchestrations of modern orchestral
music. This sound set is ideal for the kinds of forces used in twentieth century
orchestral music, e.g. film scores.
* GPO Romantic Orchestra: Fewer percussion and string instruments give more
options for subtle changes of wind and brass in this sound set. However, a full
complement of Romantic-era percussion is available. Try using the “Lush”
string instruments for that big Mahler-esque sound.
* GPO String Orchestra: All of the collection’s 95 string instruments are included
in this sound set. Each instrument has been carefully matched with effects such
as pizzicato, tremolo, mute, solo and tutti to allow easy score playback setup.
Most of the percussion and keyboard sounds are also available in this set.
* GPO Wind Orchestra: This sound set features all solo wind and brass instru-
ments and as many of the ensemble (Plr) samples as possible to allow for the
maximum number of simultaneous individual wind and brass parts. It also
includes a wide selection of percussion, keyboards, tenor sax from Kontakt
Player Silver, and a double bass (string bass) instrument.
13
Getting started
Different sound sets for different scores
Because each of the sound sets contains a different subset of the available sounds,
you will often need to choose different sound sets for different scores. To change
the sound set used by a score, see How to change sound set on page 12.
Sibelius will prompt you to reset the sounds in your score, so click Yes to confirm
the change. If Sibelius doesn’t prompt you to reset sounds, open Window > Mixer
(shortcut zXM or M on Mac) and click the Reset Sounds button. When you save
your score, Sibelius will also save your choice of sound set.
If you open a score that uses a different GPO sound set to the currently chosen
one, Sibelius will automatically switch to that sound set, so you don’t need to keep
track of which sound set you use for each score. If, for some reason, Sibelius can’t
find the GPO sound set used by a particular score, it will allow you to reset the
sounds to the sound set currently in use instead.
Sibelius will only switch the sound set used by Kontakt Player if the sound set cur-
rently in use is a GPO sound set; if Kontakt Player is in use but set to play back via
e.g. the Kontakt Gold sound set, it will instead prompt you to reset the sounds.
Similarly, if you have GPO Sibelius Edition installed, but Kontakt Player is not cur-
rently set as an active playback device, Sibelius will not activate the Kontakt Player
device; instead, it will prompt you to reset the sounds.
Creating your own sound set

Because of all the extra information required to allow Sibelius to make use of the
many special playback features in Garritan Personal Orchestra, and because each
sound set also needs its own corresponding set of sound description files for Kon-
takt Player to use, it is not possible to create your own sound set for Garritan Per-
sonal Orchestra Sibelius Edition.
14
Choosing instruments
One of the joys of Garritan Personal Orchestra Sibelius Edition is the enormous
variety and attention to detail that is provided by having, for example, 95 different
string sounds and effects or 28 individual wind instruments available to you.
So even though Sibelius always chooses appropriate sounds for each staff in your
score, you may want to take advantage of some of this remarkable variety. Here are
some ideas to get you started.
Know your limits

The first thing to do is find the playback limit of your computer, as this will affect
the choices you make. See Setting up Kontakt Player on page 28 for some steps
to work through to assess the capabilities of your current hardware and software
configuration.
Choosing which instruments to use

When you have determined how many slots you can comfortably use simulta-
neously, you then need to decide which sounds to use.
Provided you have chosen the most appropriate sound set for your score, Sibelius
will normally do a good job of deciding which sound to use for each instrument in
your score.
Sibelius attempts to allocate sounds into the smallest possible number of slots,
because even the most powerful computer cannot currently handle playing 32
slots simultaneously (with reverb) in Sibelius’s Kontakt Player.
Additionally, Kontakt Player cannot swap instruments during playback (that is,
load a new sound into a slot that already has a sound loaded), so all the sounds
you want to use while playing back need to fit in 32 slots or fewer.
Percussive and sustaining instruments

There are two types of instrument in Garritan Personal Orchestra: percussive
instruments, which use MIDI note velocity to determine their dynamics, and sus-
taining instruments, which use velocity to determine attack, but use the MIDI
modulation controller to determine dynamics.
Percussive instruments include piano, harpsichord, timpani, harp, and so on. Sus-
taining instruments include strings, woodwind and brass.
Fortunately, you don’t need to think about this distinction at all, since Sibelius
takes care of this for you, automatically interpreting dynamics on sustaining
instruments as appropriate modulation controller changes.
15
Getting started
Naming conventions
When you use the Mixer to change the sounds used by your score, you will notice
that the Garritan Personal Orchestra instruments are named in a specific way,
with different suffixes depending on the type of instrument:
* KS = keyswitch – see Keyswitch instruments below
* NV = non-vibrato; only specified where there is also a V alternative
* V = vibrato; only specified where there is also an NV alternative
* Solo = a solo instrument; there will also normally be either a section alternative
or Plr1, Plr2, etc. instruments
* Plr1, Plr2 = instruments designed for doubling up to produce ensembles – see
Building ensembles with players below
* Overlay = instruments designed to be added to existing combinations of Plr1,
Plr2 etc. instruments – see Building ensembles with players below
* ag = aggressive; Sibelius does not use these by default, but they are available if
you require a more aggressive sound for a passage
Keyswitch instruments
Several Garritan Personal Orchestra instruments make use of a technique called
keyswitching. Instruments that support keyswitching use specific MIDI pitches
(normally at the extremes of register, either very low or very high on a MIDI key-
board) to tell the sampler to switch to a different sample. For example, for a violin
sound, one keyswitch may tell the sampler to switch to a pizzicato sample, another
keyswitch may tell the sampler to switch to a half-step (semitone) trill sample,
another may tell it to switch to a whole-step (tone) trill sample, another still may
tell it to switch to a tremolando sample, and so on.
This is a convenient way of combining a number of different sounds and effects
within an instrument that can be loaded into a single slot in the Kontakt Player.
Keyswitch instruments are, therefore, larger and will take up more memory,
though this should not normally be a problem, provided you are using Kontakt
Player’s Direct From Disk (DFD) streaming feature, which loads the samples bit by
bit from your hard drive as they are needed rather than loading them into mem-
ory in their entirety before starting playback.
By default, Sibelius will choose to use keyswitch instruments (denoted by having
KS in their names) where available, because this allows the greatest flexibility and
expression in playback.
If you know that you don’t need the extra sounds provided by a keyswitch instru-
ment – e.g. if you never need tremolo, trill or pizzicato techniques in your string
writing – then you can choose one of the smaller, more specialized instruments
instead.
16
Building ensembles with players
In orchestral scores using double, triple or greater numbers of wind and brass
instruments, two systems of notating these instruments are commonly used:
either each instrument (e.g. horn 1, horn 2, etc.) has its own staff in the score, or
more than one instrument (but normally no more than two) share the same staff.
The Plr1 and Plr2 instruments are specially designed to ensure that if both instru-
ments play the same note simultaneously, they do not use the same sample, thus
avoiding the “phasing” that can jar the listener’s ear. For an even bigger sound, you
can add the FHorn Overlay f instrument to either of your existing horn parts.
To make use of these ensemble sounds in Sibelius, you will need to add extra
staves. You can, for example, add an extra staff, copy the music from the primary
instrument staff to the new one, assign the new staff to use (say) the Plr2 instru-
ment, then hide it using Layout > Focus on Staves.
For more details of using ensemble sounds, see Instruments sharing the same
staff below.
Instruments sharing the same staff

When using Garritan Personal Orchestra in a sequencer, you might create separate
tracks for, say, each horn instrument, assigning French horn 1 Plr1 KS to the first
track, French horn 2 Plr1 KS to the second track, and so on. This produces a sin-
gle horn playing each horn part. You could then “double up” each horn player by
adding tracks for French horn 1 Plr2 KS and French horn 2 Plr2 KS, which pro-
duces two horns on each part.
These techniques, however, are less convenient in Sibelius, where instruments
often share the same staff. So you should be aware of the following limitations:
* The most important case is that of two woodwind or brass parts written on the
same staff. The default GPO Plr1 or Plr2 instruments cannot play the following
situations: more than two notes simultaneously; a normal sample and an effect
(say, mute) simultaneously; or a “resound”, where one part is holding a long
note and the other part plays the same pitch at some point during the long held
note (the long note will stop after the other part has finished). If your score
exhibits any of these situations, you will need to copy one part (e.g. by triple-
clicking the staff and using Edit > Filter > Voice 2 or Bottom Notes) to a new
staff and load a new GPO instrument.
* If you have wind or brass parts that sometimes play in unison and sometimes
play different parts on the same staff, it is important not to use the Plr1, Plr2
etc. instruments and the Solo instrument of the same name (e.g. don’t use
French horn 1 Plr1 KS, French horn 1 Plr2 KS, or French horn 1 Plr3 KS
with French horn 1 solo). Plr instruments do not share samples with each
17
Getting started
other, but in order to avoid phasing problems they should not be used with the
solo instruments from which they are derived. For example, to solve the case of
four horns, where Horn 1 and Horn 2 might sometimes play in unison, and so
might Horn 3 and Horn 4, assign the staves as follows:
% Horn 1 = French Horn 1 Solo KS
% Horn 2 = French Horn 2 Plr 1
% Horn 3 = French Horn 2 Solo KS
% Horn 4 = French Horn 1 Plr 1
* When using keyswitch instruments (e.g. Vlns 1 KS), beware that if multiple
staves are playing back on the same slot, if one of the staves requires an effect
that uses a keyswitch (e.g. pizz., tremolos, etc.), all of the staves playing back on
that slot will play the same effect. So you cannot have two staves sharing the
same Vlns 1 KS slot, one playing arco, and another playing pizzicato – this is
because keyswitches apply to the entire instrument, rather than individual
notes. To obtain correct playback in this case you need to create a new staff and
copy the relevant section into it, then set the new staff to use another instru-
ment (or a different Kontakt Player slot) in the Mixer.
* There are similar issues to consider when working with lots of percussion staves
in the same score – see Choosing the right percussion sound on page 26.
18
What Sibelius interprets

To get great-sounding playback with Garritan Personal Orchestra Sibelius Edition,
it’s mostly sufficient to mark up your score with all the usual musical markings,
such as slurs, articulations, dynamics, and so on.
For more detailed information about the specific capabilities of each instrumental
family, refer to Strings on page 33, Woodwinds on page 36, Brass on page 38,
and Keyboards and harp on page 44. To find out about percussion, turn to
page 23.
Dynamics
As in normal Sibelius playback, all instruments in GPO Sibelius Edition respond
to dynamics – both by way of Expression text such as p, ff, etc., and cresc./dim.
hairpins – but the precise manner in which they respond depends on whether
they are percussive or sustaining instruments (see Percussive and sustaining
instruments on page 15).
Percussive instruments (such as piano, harpsichord, timpani, etc.) cannot increase
the dynamic of a note while it is being played, so if you add a crescendo hairpin
beneath a bar of quarter notes (crotchets) in the timpani staff, each successive
note will get louder, but the decay of each note will not get louder. These instru-
ments play dynamics via MIDI velocity (as in normal Sibelius playback), and
respond to Espressivo and changes to Live Playback as you would expect.
Sustaining instruments (such as violin, trumpet, organ, etc.) can increase the
dynamic of a note while it is being played – by bowing with greater force, by
increasing the pressure of the column of air, by opening the swell box, etc. – so if
you add a crescendo hairpin beneath a bar of quarter notes (crotchets) in a violin
staff, the volume will continuously increase.
For sustaining instruments, Sibelius converts dynamics such as mp, ff, etc. to
appropriate values for the modulation controller (which controls volume), accord-
ing to the mapping set in Play > Garritan Personal Orchestra Options, under
Dynamics for Modulation Wheel Instruments, also taking into account the cur-
rent Espressivo setting and any adjustments to Live Playback velocity. You can
optionally also tell Sibelius to alter the attack of each note (which adjusts the note
velocity), by switching on Change attack with dynamics. This has the effect of
giving louder notes a more definite attack.
Sibelius is also able to interpret other dynamics specific to sustaining instruments,
such as sfz (a sudden attack that quickly subsides), fp (a forte attack, immediately
dropping to piano), and so on. Again, you can adjust the amount and speed of the
19
Getting started
decay of these so-called “envelope” effects in Play > Garritan Personal Orchestra
Options, under Envelope. These options do not affect percussive instruments.
Sibelius only recognizes the standard dynamic markings from ppp–fff, plus fp,
fz and sfz. More extreme dynamics can, of course, be written, but will not be
played back differently via GPO Sibelius Edition.
Sibelius will attempt to read dynamics at either or both ends of a hairpin to deter-
mine the starting and ending dynamics. Consider these two examples:
   
                   

mf f
The example above left will play back exactly as you would expect, beginning mf
and ending f. The example above right is more ambiguous: so Sibelius will obey
the setting chosen in the Playback panel of Properties for the hairpin. If you don’t
want to use the Properties window to define the start or end dynamic for a hair-
pin, you can alternatively insert some Expression text, then hide it. (Refer to 5.14
Properties in Sibelius Reference for help with the Properties window.)
Sibelius does not interpret the text cresc. or dim. on its own, because such text
items do not show the duration of the change in dynamics, or the start and/or end
dynamic of the change. If you want such dynamics to appear in your score and
play back correctly, simply insert hairpins (and Expression text for the start and/
or end dynamics, if you wish) and hide them.
Slurs
Sibelius interprets slurs written for sustaining instruments to mean that the notes
under the slur should be played legato. Using the legato feature will make notes
blend into an unbroken and seamless musical phrase, by removing the attack por-
tion of the sample to connect the notes for a smoother sounding effect. The result
sounds like a real legato phrase.
Slurs on percussive instruments have no audible effect beyond that which is
defined in Sibelius’s standard Play > Performance dialog.
Tremolos
Several GPO instruments, including the string sectional instruments (except dou-
ble basses), employ keyswitches (see Keyswitch instruments on page 16) to
produce special effects including tremolos, trills, and so on.
Instruments such as Vlns 1 KS, for example, include a keyswitch for unmeasured
(i.e. very fast) tremolos. Sibelius will automatically use these sampled tremolos if
20
it calculates that, based on the number of tremolo strokes in a single-note tremolo,
it would be played unmeasured rather than as a series of repeated notes of a par-
ticular value.
You can adjust the threshold above which Sibelius should use sampled tremolos –
see Garritan Personal Orchestra Options on page 30.
Trills
Like sampled tremolos, a number of GPO instruments support sampled trills by
way of keyswitches. Sibelius will use these sampled trills when it encounters a trill
line that is set to play back (via the Playback panel of Properties) as an interval of
up to two half-steps (semitones), or if it encounters a tr symbol, which it will treat
as a diatonic trill in the current key. (If a diatonic trill is inappropriate, replace the
tr symbol with a trill line from Create > Line and set its playback appropriately.)
For other trills, Sibelius will play them back as normal (i.e. by playing a series of
distinct notes instead of a single sample).
Articulations
Since Sibelius already plays most articulations (such as staccato, marcato, etc.),
only a few articulations have extra special playback in GPO Sibelius Edition.
The most significant are the up- and down-bow articulations, which are sup-
ported by means of a keyswitch in each of the string instruments. However, the
up- and down-bow samples are very short, and therefore are only suitable for fast
runs of notes. As such, Sibelius will only use these keyswitches for notes of a short
duration (which it calculates based on the actual time duration of the note at the
prevailing tempo, rather than its strict written duration).
Sibelius also plays harmonic articulations on the harp, automatically switching to
the appropriate keyswitch.
Text
As with normal Sibelius playback, the words in the Play > Dictionary dialog are
used when playing back through GPO Sibelius Edition. Examples of some of the
text that plays back, when attached to a staff using e.g. Technique or Expression
text:
* solo and tutti
* arco and pizz.
* con sord./avec sourd/mute/closed and senza sord./sans sourd/open
* fluttertongue/buzztongue/Flatterzunge/frullato
* let ring/L.V. and non-L.V.
* vib./vibrato and non-vib./non-vibrato
21
Getting started
Some additional words can also be used to cancel any preceding effect, e.g. nat.,
natural, naturale, no effect, white tone.
Unlike Sibelius’s normal playback, GPO Sibelius Edition is sufficiently flexible that
you can (say) create a Violin I instrument (i.e. a staff for the whole section), then
add “solo” as text (which switches to a solo violin sound), then add “pizz.” as text
(which switches to a solo pizzicato sound), then add “tutti” (which switches to a
sectional pizzicato sound), and finally add “arco” (which switches back to the sec-
tional bowed sound). There’s no need to add extra staves to switch from sectional
to solo writing, and Sibelius keeps track of whether you’re working “solo” or “tutti”
with regard to the effects it can play back.
If you’re an advanced user, you can also add specific MIDI messages to activate
some of the particularly esoteric behaviors of a few of the GPO instruments. This
is described in some detail in the Advanced use section, later in this User Guide.
Live Playback
You may notice that Play > Live Playback is switched on when you start playback,
even if it is normally switched off; if you have View > Live Playback Velocities
switched on, you may see these appear during playback, and disappear again
when playback stops. This is completely normal. Sibelius makes a number of tem-
porary adjustments to your score’s Live Playback data “on the fly” in order to
achieve the special effects enabled by Garritan Personal Orchestra Sibelius Edi-
tion.
Tweaking things further

If you’ve got a lot of time on your hands and a strong tendency towards tinkering,
you can add further instructions to the score to improve the realism of the perfor-
mance yet further – see Fine-tuning your performance on page 32.
22
Basic percussion
Basic percussion
You don’t generally have to do anything out of the ordinary in terms of the way you
create your score to obtain great playback through GPO Sibelius Edition, but per-
cussion instruments are a little more complex.
This topic explains the basics of how to use GPO Sibelius Edition’s percussion
instruments effectively; more detailed information can be found in Percussion
on page 41.
Instruments and staff types

Unpitched percussion instruments in Sibelius use particular staff types, which
define the mappings between the different noteheads that appear at different posi-
tions on the staff (which may have any number of staff lines between one and five)
and the sounds produced for playback. (For more details on percussion staff types,
see 2.20 Percussion in Sibelius Reference.)
By default, when you create an unpitched percussion instrument in Sibelius, it is
given a staff type that uses a mapping suitable for General MIDI-compatible (GM)
devices. However, this is unsuitable for GPO Sibelius Edition, because (with the
notable exception of the timpani, which is pitched percussion anyway) it does not
use GM mappings for its percussion instruments, so you need to set the most
appropriate staff type for each percussion staff in your score, as follows:
* If you are starting a new score or adding one or more new unpitched percussion
instruments to an existing score, choose Layout > Instruments and Staves
(shortcut I) and add the necessary instruments
* Once a percussion staff exists in your score, select any bar in that staff, and
open the Staves panel of Properties. If the Properties window isn’t visible, show
it using Window > Properties (shortcut Ctrl+Alt+P or zXP).
* From the menu in the Staves panel, choose the most appropriate staff type;
GPO-compatible staff types all have the letters GPO in their names. (If you can’t
find any GPO-compatible staff types, see Missing staff types? on page 26.)
* Now open Window > Mixer (shortcut Ctrl+Alt+M or M) and check that the
selected staff is set to play back with one of GPO Sibelius Edition’s percussion
sounds (e.g. Basic Orchestral Percussion or Percussion Toys, but not Drums
and Percussion, which is from Kontakt Player Silver/Gold, and does not sup-
port GPO’s special percussion features) – for further advice on this subject, see
Choosing the right percussion sound on page 26.
* If working with an existing score, or a percussion staff, to which you have
already added notes, you may now need to filter the existing notes on the staff
and change their pitch and/or notehead to match the mapping of the particular
23
Getting started
GPO-compatible staff type you have chosen (refer to 5.5 Filters and Find in
Sibelius Reference for more details).
Now you know how to set a percussion staff to use an appropriate staff type and
playback sound, let’s look at how to write effectively for each of the most impor-
tant percussion instruments supported by GPO Sibelius Edition.
Bass drum
Use the 1 line (bass drum, GPO) staff type, and choose Bass Drum KS (or Basic

Orchestral Percussion if you do not require sampled rolls) in the Mixer.
 
L R R
Bass Drum         
Notehead 0 Notehead 1 Notehead 2
You can use notehead types 0, 1 or 2 on the bass drum staff type.
By default, Sibelius will alternate between left strokes and right strokes on succes-
sive notes. To specify a left or a right stroke, add the text L or R to the relevant
notes using Create > Text > Other Staff Text > Percussion Stickings.
For a sampled roll (using a keyswitch), either create an unmeasured single note
tremolo, use a “z on stem,” or add a trill to the note(s).
For a “let ring” or non-dampened note, either add a dangling tie (i.e. a tie that is
not terminated with another note) or the appropriate l.v. up or l.v. down symbol
(from the Notes rows of the Create > Symbol dialog).
Cymbal
Use the 1 line (cymbal, GPO) staff type, and choose Cymbals KS (or Basic

Orchestral Percussion if you do not require sampled rolls) in the Mixer.
L R R
Cymbal         
You can use notehead types 0, 1 or 2 on the cymbal staff type.

24
Basic percussion
Snare drum and side drum
Use the 1 line (side drum, GPO) staff type if you want your side drum to have
snares off by default, or use 1 line (snare drum, GPO) if you want your side drum
to have snares on by default, and choose Snares KS (or Basic Orchestral Percus-
sion if you do not require sampled rolls) in the Mixer.
L   Snares on Snares off
R R
Side drum                
You can use notehead types 0, 1 or 2 on the side drum and snare drum staff types.
To put snares on, either add the snare drum symbol (first symbol in the ...drums
row in Create > Symbol), or add the text “Snares on” or “Snare on” above the note
from which you want the snares on. To take snares off, either add the side drum
symbol (second symbol in the ...drums row in Create > Symbol), or add the text
“Snares off ” or “Snare off ” above the note from which you want the snares off.
Timpani
Use the normal 5 lines (no key signatures) staff type, and choose Timpani KS or

Basic Orchestral Percussion in the Mixer.
Timpani
 
     
p ff
For a “let ring” or non-dampened note, either add a dangling tie (i.e. a tie that is
not terminated with another note) or the appropriate l.v. up or l.v. down symbol
(from the Notes rows of the Create > Symbol dialog), as shown in the example
above.
Creating your own staff types

You can, of course, create your own staff types in order to mix and match other
GPO percussion sounds on the same staff – see Percussion on page 41 for more
details.
25
Getting started
Choosing the right percussion sound
Depending on the size of your ensemble (and therefore how many of Kontakt
Player’s 32 slots you can spare for percussion), your system resources (and there-
fore how many slots you can play altogether in the first place), and the density of
the special keyswitch-triggered effects you require in your score, you will need to
choose your percussion sounds carefully.
If one staff requires a keyswitch effect (e.g. a roll on the bass drum), all the staves
that are playing that sound at that moment will also receive the same keyswitch –
keyswitches apply to all the notes being played on that slot. Therefore, only the
individual sounds for each percussion instrument (e.g. Bass Drum KS, Cymbals
KS, etc.) support sampled rolls; staves that use Basic Orchestral Percussion will
play rolls using lots of repeated notes instead of a roll sample.
So if you want to hear sampled rolls, you should use separate sounds loaded into
separate slots for each percussion staff in your score. For large ensembles, it is rec-
ommended to leave Use same slot for identical sounds switched on (in Kontakt
Player Options, accessed from Play > Playback and Input Devices), and to use
e.g. Bass Drum KS for your bass drum, Cymbals KS for your cymbals, Timpani
KS for your timpani, and so on. This allows maximum flexibility for the use of
keyswitches in the percussion staves, but uses less memory than using lots of
instances of Basic Orchestral Percussion.
Missing staff types?
If the score you’re working on was created in a version of Sibelius earlier than Sibe-
lius 4.1, it won’t include any of the GPO-compatible staff types. But don’t worry –
it’s easy to import them:
* Choose House Style > Import House Style
* Choose any of the predefined house styles supplied with Sibelius; if you don’t
know which one to choose, choose Standard Opus (Times).lib
* Switch off all of the checkboxes on the right-hand side of the dialog except for
Staff types, Noteheads, Symbols and Text Styles
* Click OK to import the house style.
The Staves panel of Properties will now include all the GPO-compatible staff
types.
26
Advanced use
Advanced use
Setting up Kontakt Player

Getting the optimum level of performance out of Kontakt Player on your particu-
lar hardware configuration can take a little experimentation, but it is time well-
spent.
Initial calibration
* First, check in Kontakt Player Options (from Play > Playback and Input
Devices) that Use Reverb is switched off.
* While you’re in Play > Playback and Input Devices, make sure you have Kon-
takt Player selected as your playback device, and have selected GPO Modern
Orchestra as its sound set.
* Open a score that uses a relatively large number of staves, such as Blue Danube
from the Orchestral folder inside Example Scores. Click Yes if Sibelius asks
you if you want to reset the sounds.
* Sibelius will load the best sounds for each staff. Now open Window > Mixer and
check the choices it has made.
* Hit the Play button and listen to the results – don’t worry if you think it’s too
loud or too soft, just listen for any stuttering, clicks or drop-out of the sound,
especially in sections where lots of instruments play simultaneously. If you can
play the score without any problems, then congratulations, that’s what you
spent all that money on your computer for!
* Now try switching on Use Reverb and try again. If you now hear any faltering
in the playback, you have reached the limits of your computer system and you
need to employ one of several tricks. Read on!
Improving performance
* If you find that you cannot play back sufficient slots in Kontakt Player, the sin-
gle best improvement you could make is in a soundcard that has ASIO support
(Windows) or Core Audio acceleration (Mac OS X).
* Increasing output latency help to alleviate stuttering and drop-outs during
playback. Depending on your sound hardware, you may be able to increase the
latency as follows:
% With a score open, choose Window > Kontakt Player, click Audio Setup,
and drag the Output Latency slider rightwards.
% If no slider is present, click ASIO Config, which will open your sound hard-
ware’s control panel, where you can increase the latency. Some soundcards
don’t show an explicit latency option, but look for settings like DMA Buffer
Size or Sample Buffer Size – increasing this will increase the output
latency.
28
Setting up Kontakt Player
* If your computer has a large amount of total system RAM (e.g. more than
1.5Gb), try disabling Kontakt Player’s Direct From Disk (DFD) streaming: open
Window > Kontakt Player, click Options, then click DFD Active (when the but-
ton is gray, DFD is off; when it is blue, DFD is on).
* Switch on Use same slot for identical sounds (in Kontakt Player Options,
from Play > Playback and Input Devices), which will encourage Sibelius to use
fewer slots. You can further reduce the number of slots used simultaneously by
forcing Sibelius to play multiple staves with a single GPO instrument. Wind
and Brass GPO instruments can only play a few notes at the same time, so only
assign two or three staves to each wind or brass instrument. For strings, you
could try changing, say, the first and second violins and the violas to use the
Full Strgs KS instrument. (Using the GPO 32 Slot Orchestra sound set will
achieve a similar result, as it has most Sibelius staves allocated to only a few
GPO instruments.)
* If you want to use File > Export > Audio Track but find that you can’t play back
all of the staves simultaneously, try exporting only one section at a time (e.g.
winds first, then brass, then strings), before combining the resulting audio files
in an audio editing application (such as Audacity, which is freely available from
http://audacity.sourceforge.net/). All the files will be the same length, so it
will be simple to mix them together. This will also allow you to use an external,
off-line reverb for a more realistic recording.
* If Kontakt Player produces warnings about low physical memory when loading
the sounds, try selecting a “lite” version of the GPO instrument if available.
Some of the GPO instruments (e.g. Steinway Piano, and the string sectional
keyswitch instruments) use a lot of memory. If you are short on memory, you
should also ensure that Direct From Disk (DFD) is switched on, which helps to
minimize memory usage.
* Sibelius can use multiple playback devices simultaneously, so you could even
use another playback device for some staves. On Windows, make sure the Use
column is set to Yes for all the devices you want to use (on Mac, all devices are
always available), then select each staff in the Mixer and change the setting
under Device as appropriate. You may need to adjust the Latency values in
Play > Playback and Input Devices for devices other than Kontakt Player to
get the sounds to play back at the same time.
For further reading

For information on how to use the Kontakt Player window, refer to 4.9 Kontakt
Player in Sibelius Reference.
For further help on obtaining the best possible performance on your system, see
http://www.sibelius.com/helpcenter/en/a386.
29
Advanced use
Garritan Personal Orchestra Options

Though you won’t often need to go there, Play > Garritan Personal Orchestra
Options contains some options that advanced users may wish to adjust:
* The Volume values allow you to specify the modulation wheel value to be used
for sustaining instruments for each dynamic from ppp–fff.
* Change attack with dynamics allows you to also adjust the attack (MIDI
velocity) associated with each dynamic level; this option is off by default.
* Default Attack specifies the attack to use for notes on sustaining instruments if
Change attack with dynamics and Convert all Live Playback velocities to
attack are switched off.
* Modify attack for articulations and accents allows you to adjust the attack
(MIDI velocity) associated with each articulation; this option is off by default.
The value for each articulation is added to the current attack of the note, up to a
maximum of 127.
* Convert all Live Playback velocities to volume determines whether Sibelius
should convert existing Live Playback velocities to modulation wheel changes,
or ignore them; this option is on by default. (In normal Sibelius playback, Live
Playback velocities adjust the volume of the note, so this option maps this
behavior onto GPO’s sustaining instruments.)
* Convert all Live Playback velocities to attack allows existing Live Playback
velocities to control the attack of notes on sustaining instruments; this option is
off by default. Use this if you want to specify the precise attack of notes for sus-
30
Garritan Personal Orchestra Options
taining instruments; you can specify the attack by adjusting the Live Playback
velocity.
* The Envelope options specify the Boost (whereby the value is added to the
current volume of the note, up to a maximum of 127) and the Decay (the per-
centage of the note’s duration over which the envelope takes effect) for fp, fz
and sfz dynamics.
* Play unmeasured tremolos with n or more strokes allows you to adjust the
threshold above which Sibelius will use a sampled tremolo instead of a number
of repeated notes, calculated in terms of the number of strokes on a quarter
note (crotchet).
* Attack for played trills and tremolos allows you to set the attack to be used for
the sampled tremolos and trills played via keyswitches.
All the options in this dialog are application-wide, i.e. they are not saved in your
score.
31
Advanced use
Fine-tuning your performance

If you are an accredited MIDI wizard, you may wish to add extra MIDI messages
to your score in order to further enhance the realism of Sibelius’s performance.
For help on adding MIDI messages, refer to 4.12 MIDI messages in Sibelius Ref-
erence.
Completely disabling all special playback

If you want to prevent Sibelius from doing any special processing at all in your
scores (e.g. if you’re a total MIDI wizard and have laboriously added all the neces-
sary programming to your score by hand), choose Play > Playback and Input
Devices, click the Kontakt Player Options button, and switch off Play articula-
tions, dynamics, techniques etc. This setting is program-wide, i.e. it applies to
all scores.
Temporarily disabling special playback

If you want to prevent Sibelius from doing any special processing for the markings
in just a section of your score, create the text ~SibeliusSoundsPlaybackOff in a
staff text style (e.g. Technique text) on the staff you want Sibelius to ignore. When
you want Sibelius to start processing the markings on that staff again, create the
text ~SibeliusSoundsPlaybackOn.
Adding other MIDI messages
As in normal Sibelius playback, Sibelius will read any MIDI message text you cre-
ate in your score. You may want to create:
* Program changes (e.g. ~P64) to switch to different sounds (e.g. from a “lush”
string sound to a more aggressive string sound for a faster passage). Beware
that the program number for each sound may vary, depending on the sound set
you are using for your score; refer to the additional tables found on your Garri-
tan Personal Orchestra Sibelius Edition DVD-ROM.
* Variation changes (e.g. ~C22,3 and ~C24,8) to make repeated notes sound
more human, by introducing tiny changes in intonation and attack from note to
note.
* Length (e.g. ~C21,64) to change the release of the samples; you can adjust the
Length knob in the Kontakt Player window to set the length for all the staves
that play back via that slot, but you may want to adjust it on a local basis in the
middle of the score.
Refer to Strings on page 33, Woodwinds on page 36, Brass on page 38, and
Keyboards and harp on page 44 for details of which MIDI controllers are sup-
ported by each kind of instrument.
32
Strings
Strings
The string instruments in Garritan Personal Orchestra include a pair of Stradi-
varis, a Guarneri, several Gaglianos, two Pierrays, two Montagnana cellos, a Test-
ore, a Pallota viola, a Calcanius, a Klotz, a Vaillant, and a Betts, all of which were
made circa 1700. Amazingly, these string instruments have lasted hundreds of
years and still have a powerful and beautiful sound.
Collectively, these instruments are worth millions of dollars, although the true
value of any fine string instrument is in its sound, which is priceless. The sounds
of these exquisite string instruments are now at your command.
Capabilities of GPO string instruments

Garritan Personal Orchestra’s string instruments are organized to allow maximum
flexibility and customization. Solo sounds for each member of the string family
are included, as well as keyswitched instruments, which incorporate the most
commonly-used string articulations into one sound, with the articulations acti-
vated automatically by Sibelius triggering a note outside the playable range of the
instrument.
Multiple ensemble string instruments are also included, each programmed in a
way that allows you to build custom string sections. These ensemble patches are
useful in creating unison and divisi lines where control over each instrument in
the section is desired – see Building ensembles with players on page 17.
Typically, though, you will use the pre-built keyswitched string section sounds,
which include sustained/legato, pizzicato, trills, tremolo, muted, and short bow
articulations.
Aggressive sounds (denoted by the suffix ag in their names) for the short bow and
sustained string patches are included for when a more aggressive sound is needed.
These sounds have a more distinct attack and are therefore more suitable for pas-
sages requiring a brighter or harder articulation.
How the sounds are programmed

The special programming included in GPO’s solo and ensemble string samples is
activated by the use of keyswitches and standard MIDI controller messages, as fol-
lows:
* Velocity = Attack/Volume (non-sustain only): MIDI note velocity is used to con-
trol the initial “note on” attack strength on all sustained/legato solo and ensem-
ble string sounds. This attack equates to how hard the bow strikes the string.
Velocity is also used to control attack and volume on pizzicato patches. For sus-
tained sounds, Sibelius automatically converts the velocities of the notes in the
33
Advanced use
score to modulation controllers (see below), and then sets the attack of the
notes according to the settings in the Play > Garritan Personal Orchestra Set-
tings dialog.
* Modulation (CC1) = Volume (sustain only): Modulation is used to control the
volume and timbre characteristics of all sustained/legato solo, ensemble, sec-
tion and full string sounds. Sibelius adds modulation controller messages auto-
matically in response to dynamics written in the score (or Live Playback
velocities) according to the mappings defined in Play > Garritan Personal
Orchestra Options, but you can also control your own modulation changes via
the wheel on your MIDI keyboard if necessary.
* Legato (CC68): This controller is used to create smooth, legato playback. Sibel-
ius adds legato controller messages automatically in response to slurs written in
the score. You can also add suitable MIDI messages to your score: ~C68,0 pro-
duces a detaché sound; ~C68,127 produces a legato sound.
* Portamento (CC20): This controller is used to create portamento during legato
passages based on note intervals and the controller value. The closer the notes,
the higher the portamento value used; inversely, the larger the interval between
notes, the lower the portamento value used. Notes further than an octave apart
typically do not use portamento. This controller can be used only in conjunc-
tion with legato playing when the sustain pedal controller is active. Sibelius
does not add portamento controller messages automatically; you can add them
by hand using text such as ~C20,16.
* Length (CC21): This controller is used to shorten or lengthen the playback of
the samples. When used with the short bow sounds this controller is useful for
creating the effect of marcato articulations, or can inversely give the effect of
lighter bowstrokes in a sautillé fashion. When using this controller with sus-
tained strings higher values of CC21 can be useful for obtaining smoother
legato lines. Most instruments load with this controller set to a moderate level
by default. Sibelius does not adjust the length controller automatically; you can
adjust it for yourself by hand using text such as ~C21,64.
* Variability (CC22, CC24): CC22 controls the intonation of the notes, and is use-
ful during repeated note phrases. Very small adjustments to CC22 can help
reduce the “machine gun” effect of repeated notes using precisely the same
sample. CC24 controls variations in timbre/volume for the solo and ensemble
sounds. Sibelius does not adjust the variability controllers automatically, since
they must be used in moderation; you can adjust them by hang using text such
as ~C22,2 and ~C24,64.
* Portamento (CC19): This controller is used on all sustained string samples to
aid the creation of portamento when going from detached (non-legato) playing
to legato playing. This controller switches to a layer that does not respond to
34
Strings
pitch bend data. This gives the user the flexibility to create pitch bend MIDI
messages between two notes, which only have an effect on the second note of
the pair. This solves certain kinds of portamento problems. Sibelius does not
adjust the portamento controller automatically.
* Playable trills/Bow noise (CC16): This controller has two functions that are spe-
cific to particular sounds. When used with the ag (aggressive) short bow
sounds, this controller controls bow noise and can be used to add “grit” to the
sound. The solo keyswitch strings use CC16 to control an alternative switching
system for trills on keyswitch notes G# and A. The standard keyswitches (G#–
B) give the user control over half-step and whole-step trills plus their muted
counterparts. CC16 extends switching to intervals from a half-step to as wide as
a major third using the following values:
% ~C16,0 – ~C16,32 = half-step (semitone)
% ~C16,33 – ~C16,64 = whole step (tone)
% ~C16,65 – ~C16,96 = minor third
% ~C16,97 – ~C16,127 = major third
Sibelius only automatically supports the standard keyswitches for half-step
(semitone) and whole step (tone) trills. These so-called “playable” trills are not
appropriate for use in Sibelius, and are therefore not supported; they play one
note of the trill when a key on a MIDI keyboard is depressed, and play the other
note of the trill when the key is released, thus making the trill playable using a
single key (plus the appropriate keyswitch).
35
Advanced use
Woodwinds
The woodwind family consists of a wide variety of instruments, each with its own
unique sound, including varieties of flutes, oboes, clarinets, and bassoons. Quality
woodwind instruments sampled for this library include Haynes flutes, Selmer
clarinets and Heckel bassoons.
Capabilities of GPO woodwind instruments

The wind instrument samples in Garritan Personal Orchestra are expressive and
beautiful, whether you choose to use them in a solo context, in small intimate
ensembles, or in vast orchestral pieces. Included in the library are solo and ensem-
ble versions of all the major instruments in the woodwind family. Keyswitched
flute and piccolo sounds are included.

The special programming included in GPO’s woodwind instruments is activated
by the use of keyswitches and standard MIDI controller messages, as follows:
ble woodwind sounds. This attack equates to how forcefully the instrument is
played. For sustained sounds, Sibelius automatically converts the velocities of
the notes in the score to modulation controllers (see below), and then sets the
attack of the notes according to the settings in the Play > Garritan Personal
Orchestra Settings dialog.
volume and timbre characteristics of all sustained/legato solo and ensemble
woodwind sounds. Sibelius adds modulation controller messages automatically
in response to dynamics written in the score (or Live Playback velocities)
according to the mappings defined in Play > Garritan Personal Orchestra
Options, but you can also control your own modulation changes via the wheel
on your MIDI keyboard if necessary.
duces a tongued sound; ~C68,127 produces a legato sound.
36
Woodwinds
the samples. This controller can be used to improve emulation of double- and
triple-tonguing in the woodwinds. When using this controller with sustained
woodwinds higher values of CC21 can be useful for obtaining smoother legato
lines. Most instruments load with this controller set to a moderate level by
default. Sibelius does not adjust the length controller automatically; you can
adjust it for yourself by hand using text such as ~C21,64.
as ~C22,2 and ~C24,64.
* Aftertouch (CC131) = vibrato intensity: Many of the non-vibrato solo wood-
winds have a hidden vibrato intensity controller to allow the user to apply the
level of vibrato to the instrument. This controller does not apply to the instru-
ments that contain natural vibrato and therefore only applies to instruments
that have a non-vibrato choice (denoted by the suffix NV in their names). This
controller has also been added to some instruments that do not normally have
vibrato (e.g. clarinet, French horn). This controller should be used along with
the vibrato speed controller (see below). Sibelius does not adjust the vibrato
intensity controller automatically; you can adjust it by hand using text such as
~C131,64.
* Vibrato speed controller (CC17): This controller, when used in conjunction with
the vibrato intensity controller (see above), will vary the vibrato speed of those
instruments that normally contain no vibrato. As before, this does not affect
instruments that have natural vibrato and will apply only to non-vibrato sounds
(with NV in their names). Sibelius does not adjust the vibrato intensity control-
ler automatically; you can adjust it by hand using text such as ~C17,64.
37
Advanced use
Brass
The brass instruments in a modern orchestra include variations of the French
horn, the trumpet, the trombone, and the tuba. Each possesses a unique color and
range, from the bright piercing sound of the trumpet to the deep, dark tones of the
tuba.
Capabilities of GPO brass instruments

The brass instruments in Garritan Personal Orchestra have been exquisitely cap-
tured and allows for a very dynamic brass section in your Sibelius score. In addi-
tion to the standard solo sounds included in GPO, there are also ensemble sounds
and brass overlays, mutes, and aggressive patches. The overlays are used to create
a larger brass sound, while the aggressive patches are useful in adding a punch to
the brass section by increasing the hardness of the attack.

The special programming included in GPO’s solo and ensemble brass samples is
activated by the use of keyswitches and standard MIDI controller messages, as fol-
lows:
ble brass sounds. This attack equates to how forcefully the player releases the
air column to begin the note. Velocity is also used to control attack and volume
on pizzicato patches. For sustained sounds, Sibelius automatically converts the
velocities of the notes in the score to modulation controllers (see below), and
then sets the attack of the notes according to the settings in the Play > Garritan
Personal Orchestra Settings dialog.
volume and timbre characteristics of all sustained/legato solo and ensemble
brass sounds. Sibelius adds modulation controller messages automatically in
response to dynamics written in the score (or Live Playback velocities) accord-
ing to the mappings defined in Play > Garritan Personal Orchestra Options,
but you can also control your own modulation changes via the wheel on your
MIDI keyboard if necessary.
duces a detaché sound; ~C68,127 produces a legato sound.
38
Brass
the samples. It is useful for creating sforzando articulations when using the
aggressive (named ag) sounds, or for obtaining a convincing staccato sound. It
can also be valuable in helping to create double- and triple-tonguing passages.
When using this controller with sustained brass higher values of CC21 can be
useful for obtaining smoother legato lines. Most instruments load with this
controller set to a moderate level by default. Sibelius does not adjust the length
controller automatically; you can adjust it for yourself by hand using text such
as ~C21,64.
as ~C22,2 and ~C24,64.
* Aftertouch (CC131) = vibrato intensity: Many of the non-vibrato solo brass
instruments have a hidden vibrato intensity controller to allow the user to apply
the level of vibrato to the instrument. This controller does not apply to the
instruments that contain natural vibrato and therefore only applies to instru-
ments that have a non-vibrato choice (denoted by the suffix NV in their names).
This controller has also been added to some instruments that do not normally
have vibrato (e.g. French horn). This controller should be used along with the
vibrato speed controller (see below). Sibelius does not adjust the vibrato inten-
sity controller automatically; you can adjust it by hand using text such as
~C131,64.
* Vibrato speed controller (CC17): This controller, when used in conjunction with
the vibrato intensity controller (see above), will vary the vibrato speed of those
instruments that normally contain no vibrato. As before, this does not affect
instruments that have natural vibrato and will apply only to non-vibrato sounds
(with NV in their names). Sibelius does not adjust the vibrato intensity control-
ler automatically; you can adjust it by hand using text such as ~C17,64.
* Portamento (CC19): This controller is used on the solo trombone samples to aid
the creation of portamento when going from detached (non-legato) playing to
39
Advanced use
legato playing. This controller switches to a layer that does not respond to pitch
bend data. This gives the user the flexibility to create pitch bend MIDI messages
between two notes, which only have an effect on the second note of the pair.
This solves certain kinds of portamento problems. Sibelius does not adjust the
portamento controller automatically.
* Saturation (CC16): This controller is used in conjunction with the aggressive
brass sounds (named ag) to add more forcefulness and “grit” to the sound.
Sibelius does not adjust the saturation controller automatically.
* Pitch bend: This controller can be effectively used with the solo trombone
patches to create “scoops” or “drops” at the beginning of notes or passages, and
can be used in conjunction with the other portamento controllers (CC20 and
CC19). Trombones have a wider pitchbend range than most instruments: six
half-steps (semitones).
Brass overlays
The brass instruments have Overlay instruments, sampled at the forte or fortis-
simo level, that can be layered with the solo and ensemble instruments to achieve
a fuller, more massive section sound. The trumpets, trombones, and tubas each
have one Overlay instrument and the French horns have two. In general, the Over-
lay instruments can be used to:
* Add “body” and resonance to the sound of a brass section. This can affect the
apparent size of the section, making it sound larger.
* Increase the contrast in timbre from soft to loud. The contrast increases as you
add more Overlay. The soft end of the spectrum becomes mellower, the loud
end becomes brighter and brassier.
* Give the impression of a larger section size while using fewer resources, con-
suming fewer instrument slots within the Kontakt Player.
* Give greater control over strong articulations. The French horns have two Over-
lay instruments (f and ff ) because the horns often require a large range of tim-
bre variation in typical orchestral writing. The combination of Solo and player
(Plr) instruments with either or both Overlays can create a large variety of
characteristics.
40
Percussion
Percussion
The percussion instruments are often the loudest members of the orchestra and
are therefore normally seated at the back! The instruments of the percussion fam-
ily are played by being hit, shaken or scraped, and provide a variety of rhythms
and tonal textures.
For basic information about how to use percussion in your score, see Basic per-
cussion on page 23.
Creating your own percussion staff types

In order to use GPO’s percussion instruments most effectively, you need to use the
supplied GPO-compatible staff types, or create your own. To do this:
* Choose House Style > Edit Staff Types, and choose the Percussion radio but-
ton in the dialog
* Select an existing percussion staff type that is similar to the kind of staff type
you want to create, and click New
* Change the name of the staff type on the General tab of the Edit Staff Type dia-
log; make sure you give it a distinctive name so that you can find it in the list of
staff types later on
* Adjust the number of staff lines as appropriate on the Notes and Rests tab of
the dialog
* On the Percussion tab, add noteheads to map onto percussion sounds. For
GPO, you should switch on Use MIDI pitch instead of choosing a named sound
from the Sound menu (which only lists the default General MIDI percussion
sounds, and as such is inappropriate for GPO). To find out which MIDI pitch
you need to select for each sound, refer to the list for each GPO instrument in
Appendix B: Percussion instrument mappings on page 66.
For more details about editing staff types, refer to 6.14 Edit Staff Types in Sibel-
ius Reference.
Don’t forget: any staff type you create is only available in the score in which you
create it, but you can make your own staff types available in other scores by means
of exporting and importing house styles or setting up your own manuscript
papers – refer to 6.7 House style and 2.17 Manuscript papers in Sibelius Ref-
erence for more details.
Capabilities of GPO percussion instruments

A varied collection of percussion instruments is at your disposal, almost all of
which are keyswitched instruments (with the exception of the cymbals and wind
machine).
41
Advanced use
There are also two combination sounds: Basic Orchestral Percussion (which com-
bines the commonly-used orchestral percussion into one instrument) and Percus-
sion Toys (which combines a number of more esoteric instruments, such as mark
tree).

The special programming included in GPO’s percussion samples is activated by
the use of keyswitches and standard MIDI controller messages. Some of these con-
trollers are universal across all percussion instruments, while others are specific to
certain instruments or types of instruments (see below).
* Velocity = Attack/Volume: All percussion instruments included in Garritan Per-
sonal Orchestra use velocity for attack and volume control.
the samples. It is not available for all samples. Sibelius does not adjust the
length controller automatically, but it can be adjusted manually by means of
text instructions such as ~C21,32.
* Modulation (CC1) = Percussion roll volume (for recorded rolls): The modulation
control, for those percussion instruments that use it, works in a similar manner
as the sustaining instruments. Cymbals, snare drum and bass drum all use the
modulation wheel for rolled crescendos/decrescendos, and the wind machine
uses mod wheel control for volume. Sibelius automatically applies modulation
control changes for hairpins on rolls (notated as unmeasured tremolos or trills)
on the supplied GPO percussion staff types.
* Sustain pedal (CC64) = Dampening: This controller switches whether percus-
sion instruments should be allowed to let ring (sustain pedal on) or be damp-
ened (sustain pedal off).
sample. CC24 controls variations in timbre/volume for the percussion sounds.
Sibelius does not adjust the variability controllers automatically, since they
must be used in moderation; you can adjust them by hang using text such as
~C22,2 and ~C24,64.
Bass drum
* Bass drum fundamental (CC20): Although the bass drum is an instrument of
indefinite pitch, its tone is very deep and booming and capable of being
adjusted. The bass drum in Personal Orchestra has an adjustable fundamental
that is controlled either via the BDFund knob in the Kontakt Player window or
42
Percussion
via MIDI messages such as ~C20,64. This control can add a great deal of
energy to extremely low frequencies, so use it with care.
* Aggressive brightness (CC16): Increasing the value of this controller can give the
impression of harder mallets being played aggressively, e.g. via MIDI messages
such as ~C16,72.
Vibraphone
* Attack (CC20): For the vibraphone this controller controls the vibraphone's
attack speed. This allows continuous control of the vibraphone's attack speed
from hard to “bowed” attacks, either via the Attack knob in the Kontakt Player
window, or via MIDI messages such as ~C20,84.
* Tremolo level (CC22): For the vibraphone this controller controls the level of
tremolo, to be used in tandem with tremolo speed (see below). Controlled by
the TRMLEV knob in the Kontakt Player window, or via MIDI messages such as
~C22,64.
* Tremolo speed (CC24): For the vibraphone this controller controls the speed of
the tremolo. to be used in tandem with tremolo level (see above). Controlled by
the TRMSPD knob in the Kontakt Player window, or via MIDI messages such as
~C24,32.
43
Advanced use
Keyboards and harp

The two harps that are included in Garritan Personal Orchestra are a Venus Grand
Concert harp and a Wurlitzer Concert harp, circa 1920s.
High-quality keyboard instruments were also sampled: a Steinway® 9' Concert
Grand Piano was sampled at two dynamic levels (Steinway® name used by permis-
sion from Steinway and Sons); the harpsichord is a double manual French harpsi-
chord, built by Hubbard; the celeste was manufactured by Mustel; the Concert
Pipe Organ is a German Baroque pipe organ built by Rudolf von Beckerath, with
three manuals and pedals, containing 11 individual stops.
Steinway Concert Grand Piano

Included in Garritan Personal Orchestra is a full Steinway Concert Grand instru-
ment as well as two piano duo instruments that are meant for duo piano pieces, as
well as a “lite” version of the full piano instrument to be used in ensemble situa-
tions when computer resources are at a premium.
* Velocity = Note Attack and Volume: Note attack and volume are controlled by
velocity.
* Sustain pedal (CC64): As you would expect, the piano responds correctly to the
sustain pedal controller, which you can achieve either via use of the pedal lines
(in Create > Line) or MIDI messages in the form ~C64,127.
Celeste and Glass Harmonica

These two instruments share similar programming but give entirely different
sounds. The celeste is a beautiful bell-sounding instrument, while the rare glass
harmonica is a sound unique unto itself.
* Velocity = Note Attack: Velocity only controls the note attack on the celeste and
glass harmonica.
* Sustain Pedal (CC64) = Dampening: The sustain pedal acts to dampen the notes
played on the celeste and glass harmonica.
Harps
Because of the way a harp is played Garritan Personal Orchestra offers different
types of harp patches. There are standard chromatic harp instruments for single
plucked notes, glissando harps to emulate harp glissandos, harp harmonics
patches for harp effects to add realism, and harp keyswitch instruments so that
the user has access to all these types of sounds in one convenient instrument.
* Velocity = Note Attack and Volume: Note attack and volume are controlled by
velocity.
44
Keyboards and harp
* Sustain pedal (CC64) = damping: MIDI messages of the form ~C64,127 will
engage the sustain pedal controller, allowing the harp to let ring; ~C64,0
damps the harp strings. By default, the harp will play back with the strings
undampened (i.e. the sustain pedal is on).
* Keyswitches: The harp keyswitch instruments combine the chromatic harp, the
glissando harp, and the harp harmonics into one convenient instrument.
Concert Pipe Organ

The organ is the only keyboard instrument that does not use velocity to control
the volume/timbre characteristics of the instrument. Since the pipe organ is con-
trolled by wind pressure from the bellows, this works quite well and lends to a
more satisfying experience when playing live. There are 13 organ patches in Garri-
tan Personal Orchestra, each with a unique and particular sound. Extra controls
have been added to the pipe organ instruments to increase the tonal possibilities.
Using the programming listed below you should be able to create convincing
organ pieces quickly and efficiently.
* Velocity = Note Attack: Velocity only controls the note attack on the organ.
* Modulation (CC1) = Volume/Timbre: The modulation controller controls the
volume and timbre dynamics of the organ. This affords greater dynamic control
of the organ.
* Organ Fundamental (CC20): This controller controls the fundamental strength
of the organ sounds, and is especially useful in the pedal instruments. Con-
trolled via the FUND knob in the Kontakt Player window, or via MIDI messages
of the form e.g. ~C20,64.
* Organ Filter Strength (CC22): This controller, when used in conjunction with
filter frequency (see below), allows the user to boost certain frequencies of the
organ. Controlled via the FILTLV knob in the Kontakt Player window, or via
MIDI messages of the form e.g. ~C22,64.
* Organ Filter Frequency (CC24): This controller, when used in conjunction with
filter strength (see above), allows the user to boost certain frequencies of the
organ. Controlled via the FILTFQ knob in the Kontakt Player window, or via
MIDI messages of the form e.g. ~C24,64.
Harpsichord
The harpsichord's programming is also simple yet effective, with all of the stops
available via a keyswitch.
The harpsichord always produces notes of the same volume and attack at each
dynamic level; Sibelius will automatically switch to the 4’ stop when a p dynamic
is encountered, switch to the 8’+4’ stop when a f dynamic is encountered, and
switch to the lute stop when the Technique text lute is encountered.
45
Advanced use
46
Appendices
Appendices
Appendix A: List of instruments

Listed below are all the instruments included in GPO Sibelius Edition. Additional
tables listing the specific capabilities of each instrument, which sound sets they
are found in, etc. can be found on your GPO Sibelius Edition DVD-ROM.
Key
* Leg = CC68 legato control
* Sus (sus) = sustain pedal for normal sustain control
* SusDp = sustain pedal with damping control
* MW = modulation wheel expression control
* Vel = note velocity for accents and attack
* Vel (vol) = note velocity for volume control
* VAR 1 = automatic variability of intonation
* VAR 2 = automatic variability of timbre
* ALT = up and down bowstrokes
* BDFund = fundamental of the bass drum
* KS = keyswitch instrument. All the notes used by keyswitches are in the octave
C–1 to B–1, i.e. MIDI notes 0–11.
* Length = sample length.
* Plr instruments do not share samples with each other but must not be used with
the solo instruments from which they are derived to avoid phasing problems;
e.g. don’t use French horn 1 Plr1*, Plr2*, or Plr3* with French horn 1 (solo).
Name Description Controls

WOODWIND INSTRUMENTS
Alto Flute Solo Principal alto flute. The alto flute plays four notes lower Leg, MW, Vel, Port, VAR 1,
than a conventional flute. Made by Mönnig. VAR 2, Length
Alto Flute Plr1* Associate ensemble instrument for building ensembles. Leg, MW, Vel, Port, VAR 1,
First player in an ensemble derived from the Alto Flute VAR 2, Length
Solo instrument.
Second player in an ensemble derived from the Alto Flute VAR 2, Length
Solo instrument.
Third player in an ensemble derived from the Alto Flute VAR 2, Length
Solo instrument.
Bass Clarinet Principal bass clarinet. Plays one octave lower than a con- Leg, MW, Vel, Port, VAR 1,
Solo ventional clarinet. VAR 2, Length
48
Bass Clarinet Associate ensemble instrument for building ensembles. Leg, MW, Vel, Port, VAR 1,
Plr1* First player in an ensemble derived from the Bass Clari- VAR 2, Length
net Solo instrument.
Plr2* Second player in an ensemble derived from the Bass VAR 2, Length
Clarinet Solo instrument.
Plr3* Third player in an ensemble derived from the Bass Clari- VAR 2, Length
Bass Flute Solo Principal bass flute, played with vibrato. Plays one octave Leg, MW, Vel, Port, VAR 1,
Vib lower than a conventional flute. VAR 2, Length
Bass Flute Solo Principal bass flute, played without vibrato. Plays one Leg, MW, Vel, Port, VAR 1,
NV octave lower than a conventional flute. VAR 2, Length
Bass Flute Plr1* Associate ensemble instrument for building ensembles. Leg, MW, Vel, Port, VAR 1,
First player in an ensemble derived from the Bass Flute VAR 2, Length
Solo instrument.
Second player in an ensemble derived from the Bass VAR 2, Length
Flute Solo instrument.
Third player in an ensemble derived from the Bass Flute VAR 2, Length
Solo instrument.
Bassoon 1 Solo Principal solo bassoon. Made by Heckel. Leg, MW, Vel, Port, VAR 1,
VAR 2, Length
Bassoon 2 Solo Second bassoon. A different bassoon with a different tone. Leg, MW, Vel, Port, VAR 1,
VAR 2, Length
Bassoon Plr1* Associate ensemble instrument for building ensembles. Leg, MW, Vel, Port, VAR 1,
First player in an ensemble derived from the Bassoon 1 VAR 2, Length
Solo instrument.
Second player in an ensemble derived from the Bassoon VAR 2, Length
1 Solo instrument.
Third player in an ensemble derived from the Bassoon 1 VAR 2, Length
Solo instrument.
Bb Clarinet Solo Principal solo Bb clarinet. Made by Buffet. Leg, MW, Vel, Port, VAR 1,
VAR 2, Length
Bb Clarinet Plr1* Associate ensemble instrument for building ensembles. Leg, MW, Vel, Port, VAR 1,
First player in an ensemble derived from the Bb Clarinet VAR 2, Length
Solo instrument.
Second player in an ensemble derived from the Bb Clari- VAR 2, Length
49
Appendices
Third player in an ensemble derived from the Bb Clarinet VAR 2, Length
Solo instrument.
Contrabass Clari- Principal contrabass clarinet. Plays an octave lower than LEg, MW, Vel, Port, VAR 1,
net Solo the bass clarinet. VAR 2, Length
Contrabassoon 1 Principal contrabassoon. Plays one octave lower than a Leg, MW, Vel, Port, VAR 1,
Solo conventional bassoon and lower than any instrument in VAR 2, Length
the orchestra.
Contrabassoon 2 Second contrabassoon. Has a wider note range and a dif- Leg, MW, Vel, Port, VAR 1,
Solo ferent tone quality. Made by Schreiber. VAR 2, Length
Eb Clarinet Solo Principal Eb Solo Clarinet. Plays four notes higher than Leg, MW, Vel, Port, VAR 1,
the Bb Clarinet. VAR 2, Length
English Horn 1 Principal English horn. Also referred to as a cor anglais or Leg, MW, Vel, Port, VAR 1,
Solo alto oboe. VAR 2, Length
English Horn 2 Second English horn (cor anglais) with a different tone Leg, MW, Vel, Port, VAR 1,
Solo and more pronounced vibrato. Made by Loree. VAR 2, Length
English Horn 1 Associate ensemble instrument for building ensembles. Leg, MW, Vel, Port, VAR 1,
Plr1* First player in an ensemble derived from the English VAR 2, Length
Horn 1 Solo instrument.
Plr2* Second player in an ensemble derived from the English VAR 2, Length
Plr3* Third player in an ensemble derived from the English VAR 2, Length
Flute Solo Vib Principal solo flute. played vibrato. Made by Haynes. Leg, MW, Vel, Port, VAR 1,
VAR 2, Length
Flute Solo NV Principal solo flute. played non vibrato. Leg, MW, Vel, Port, VAR 1,
VAR 2, Length
Flute Solo KS Keyswitch version of the solo flute instrument (C-1 = Leg, MW, Vel, Port, VAR 1,
vibrato; D-1 = non vibrato; E-1 = fluttertongue). VAR 2, Length, KS
Flute Solo Flutter Principal solo flute, played fluttertongue. Leg, MW, Vel, Port, VAR 1,
VAR 2, Length
Flute Plr1* Associate ensemble instrument for building ensembles. Leg, MW, Vel, Port, VAR 1,
First player in an ensemble derived from the Flute Solo VAR 2, Length
instrument.
Second player in an ensemble derived from the Flute VAR 2, Length
Solo instrument.
Third player in an ensemble derived from the Flute Solo VAR 2, Length
instrument.
50
Oboe 1 Modern Principal solo oboe. Leg, MW, Vel, Port, VAR 1,
Solo VAR 2, Length
Oboe 2 Modern Second solo oboe, with a little more vibrato. Made by Leg, MW, Vel, Port, VAR 1,
Solo Püchner. VAR 2, Length
Oboe 3 Modern Third solo oboe, with a slightly different tone and more Leg, MW, Vel, Port, VAR 1,
Solo pronounced vibrato. VAR 2, Length
Oboe 1 Modern Associate ensemble instrument for building ensembles. Leg, MW, Vel, Port, VAR 1,
Plr1* First player in an ensemble derived from the Oboe 1 VAR 2, Length
Modern Solo instrument.
Plr2* Second player in an ensemble derived from the Oboe 1 VAR 2, Length
Plr3* Third player in an ensemble derived from the Oboe 1 VAR 2, Length
Oboe Classical Fourth solo oboe. Older vintage instrument with a differ- Leg, MW, Vel, Port, VAR 1,
Solo ent tone quality. VAR 2, Length
Oboe D’Amore Solo oboe d’amore. Leg, MW, Vel, Port, VAR 1,
VAR 2, Length
Piccolo Vib Solo Principal piccolo. played vibrato. Made by Hammig.

Piccolo NV Solo Principal piccolo. played non vibrato.
Piccolo Solo KS Keyswitch version of the piccolo instrument (C-1 =
vibrato; D-1 = non vibrato; E-1 = fluttertongue).
Piccolo Flutter Principal piccolo, played fluttertongue.
BRASS INSTRUMENTS
Bass Trombone 1 Principal Bass Trombone. Plays one octave lower than a Leg, MW, Vel, Port, VAR 1,
Solo conventional trombone. Made by Bach. VAR 2, Length
Bass Trombone 2 2nd Bass Trombone. A different bass trombone with a Leg, MW, Vel, Port, VAR 1,
Solo brighter tone. VAR 2, Length
Bass Trombone 2 Same as Bass Trombone 2 Solo, but programmed for a Leg, MW, Vel, Port, VAR 1,
Solo ag more aggressive sound. VAR 2, Length
Contratuba Solo Principle contratuba. Plays lower than a conventional Leg, MW, Vel, Port, VAR 1,
tuba. Specially made by Melton. VAR 2, Length
French horn 1 Principal solo French horn. Leg, MW, Vel, Port, VAR 1,
Solo VAR 2, Length
French horn 1 Keyswitch version of the French horn 1 Solo instrument Leg, MW, Vel, Port, VAR 1,
Solo KS (C-1 = regular sustain, D-1 = mutes). VAR 2, Length
French horn 1 The same as French Horn 1 Solo but with a more Leg, MW, Vel, Port, VAR 1,
Solo ag aggressive sound. VAR 2, Length
51
Appendices
French horn 1 Associate ensemble instrument for building ensembles. Leg, MW, Vel, Port, VAR 1,
Plr1* First player in an ensemble, derived from the principle VAR 2, Length
French horn instrument.
French horn 1 A keyswitch version of French horn 1 Plr1 (C-1 = regu- Leg, MW, Vel, Port, VAR 1,
Plr1 KS* lar sustain, D-1 = mutes). VAR 2, KS, Length
Plr2* Second player in an ensemble, derived from the principle VAR 2, Length
Plr3* Third player in an ensemble, derived from the principle VAR 2, Length
French horn 2 Second French horn. A different French horn with a dif- Leg, MW, Vel, Port, VAR 1,
Solo ferent tone quality. VAR 2, Length
French horn 2 The same as French horn 2 Solo but programmed for a Leg, MW, Vel, Port, VAR 1,
Solo Ag more aggressive sound. VAR 2, Length
French horn 2 Plr Associate ensemble instrument for building ensembles. Leg, MW, Vel, Port, VAR 1,
1* First player in an ensemble, derived from the second VAR 2, Length
Plr2* Second player in an ensemble, derived from the second VAR 2, Length
Plr3* Third player in an ensemble, derived from the second VAR 2, Length
French Horn Solo Principal French horn played with a straight mute (sor- Leg, MW, Vel, Port, VAR 1,
Mute dino) VAR 2, Length
French Horn Associate ensemble instrument for building ensembles. Leg, MW, Vel, Port, VAR 1,
Mute Plr1* First player in an ensemble, derived from the French horn VAR 2, Length
muted instrument.
Mute Plr2* Second player in an ensemble, derived from the French VAR 2, Length
horn muted instrument.
Mute Plr3* Third player in an ensemble, derived from the French VAR 2, Length
horn muted instrument.
F Horn f overlay A different solo French horn played forte and intended to Leg, MW, Vel, Port, VAR 1,
be played with other horns to create a fuller section VAR 2, Length
sound.
52
F Horn f overlay The same as F Horn f overlay but programmed for a Leg, MW, Vel, Port, VAR 1,
ag more aggressive sound. VAR 2, Length
F Horn ff overlay A different solo French horn played fortissimo and Leg, MW, Vel, Port, VAR 1,
intended to be layered with other horns to create a fuller VAR 2, Length
section sound.
Tenor Tbone Principal solo tenor trombone, made by Conn. Leg, MW, Vel, Port, VAR 1,
Solo VAR 2, Length
Tenor Tbone A keyswitch version of the Tenor Tbone Solo instrument Leg, MW, Vel, Port, VAR 1,
Solo KS (C-1 = regular sustains, D-1 = mutes). VAR 2, KS, Length
Tenor Tbone The same as Tenor Tbone Solo but programmed for a Leg, MW, Vel, Port, VAR 1,
Solo ag more aggressive sound. VAR 2, Length
Tenor Tbone Associate ensemble instrument for building ensembles. Leg, MW, Vel, Port, VAR 1,
Plr1* First player in an ensemble, derived from the principal VAR 2, Length
tenor trombone instrument.
Tenor Tbone Plr1 A keyswitch version of Tenor Tbone Plr1 (C-1 = regular Leg, MW, Vel, Port, VAR 1,
KS* sustains, D-1 = mutes). VAR 2, KS, Length
Plr2* Second player in an ensemble, derived from the principal VAR 2, Length
Plr3* Third player in an ensemble, derived from the principal VAR 2, Length
Tenor Tbone Principle tenor trombone played with a straight mute Leg, MW, Vel, Port, VAR 1,
Solo Mute (sordino) VAR 2, Length
Mute Plr1* First player in an ensemble, derived from the tenor trom- VAR 2, Length
bone muted instrument.
Mute Plr2* Second player in an ensemble, derived from the tenor VAR 2, Length
trombone muted instrument.
Mute Plr3* Third player in an ensemble, derived from the tenor trom- VAR 2, Length
bone muted instrument.
Tbone Overlay A different solo trombone played forte and intended to be Leg, MW, Vel, Port, VAR 1,
layered with other trombones to create a fuller section VAR 2, Length
sound.
Tbone Overlay ag The same as Tbone Overlay but programmed for a more Leg, MW, Vel, Port, VAR 1,
aggressive sound. VAR 2, Length
53
Appendices
Tpt 1 Solo Principal solo C trumpet. Leg, MW, Vel, Port, VAR 1,
VAR 2, Length
Tpt 1 Solo KS A keyswitch version of the Tpt 1 Solo instrument (C-1 = Leg, MW, Vel, Port, VAR 1,
regular sustains, D-1 = mutes). VAR 2, KS, Length
Tpt 1 Solo ag The same as Tpt 1 Solo but programmed for a more Leg, MW, Vel, Port, VAR 1,
Tpt 1 Plr1* Associate ensemble instrument for building ensembles. Leg, MW, Vel, Port, VAR 1,
First player in an ensemble, derived from the principal VAR 2, Length
trumpet instrument.
Tpt 1 Plr1 KS* A keyswitch version of Tpt1 Plr1 (C-1 = regular sustains, Leg, MW, Vel, Port, VAR 1,
D-1 = mutes). VAR 2, KS, Length
Second player in an ensemble, derived from the principal VAR 2, Length
trumpet instrument.
Third player in an ensemble, derived from the principal VAR 2, Length
trumpet instrument.
Tpt 2 Solo Second solo trumpet; a different trumpet with a brighter Leg, MW, Vel, Port, VAR 1,
sound than Tpt 1 Solo. VAR 2, Length
First player in an ensemble, derived from the second VAR 2, Length
trumpet instrument.
Second player in an ensemble, derived from the second VAR 2, Length
trumpet instrument.
Third player in an ensemble, derived from the second VAR 2, Length
trumpet instrument.
Tpt Piccolo NV Piccolo trumpet played with no vibrato. Made by Bach Leg, MW, Vel, Port, VAR 1,
Solo Stradivarius. VAR 2, Length
Tpt Piccolo V Piccolo trumpet played with vibrato. Leg, MW, Vel, Port, VAR 1,
Solo VAR 2, Length
Tpt Solo Straight Principal trumpet played with a straight mute (sordino). Leg, MW, Vel, Port, VAR 1,
Mute VAR 2, Length
Tpt Straight Mute Associate ensemble instrument for building ensembles. Leg, MW, Vel, Port, VAR 1,
Plr1* First player in an ensemble derived from the muted trum- VAR 2, Length
pet instrument.
54
Plr2* Second player in an ensemble derived from the muted VAR 2, Length
trumpet instrument.
Plr3* Third player in an ensemble derived from the muted VAR 2, Length
trumpet instrument.
Tpt Overlay A different solo trumpet played forte and intended to be Leg, MW, Vel, Port, VAR 1,
layered with other trumpets to create a fuller section VAR 2, Length
sound.
Tpt Overlay ag The same as Tpt Overlay but programmed for a more Leg, MW, Vel, Port, VAR 1,
Tuba 1 Solo Principal solo bass tuba. Made by Bohland Fuchs. Leg, MW, Vel, Port, VAR 1,
VAR 2, Length
Tuba 2 Solo Second solo bass tuba, with a different tone. Leg, MW, Vel, Port, VAR 1,
VAR 2, Length
Tuba 2 Solo ag The same as Tuba 2 Solo but programmed for a more Leg, MW, Vel, Port, VAR 1,
Tuba Overlay A different solo tuba played forte and intended to be lay- Leg, MW, Vel, Port, VAR 1,
ered or played solo for a fuller sound. VAR 2, Length
Tuba Overlay ag The same as Tuba Overlay but programmed for a more Leg, MW, Vel, Port, VAR 1,
HARP INSTRUMENTS
Chromatic Harp Venus harp with a mellow sound. Vel (vol), SusDp
1
Chromatic Harp A lite version of the Chromatic Harp 1 instrument. Vel (vol), SusDp
1 Lite
Chromatic Harp Wurlitzer harp with a clearer sound. Vel (vol), SusDp
2
Chromatic Harp A lite version of the Chromatic Harp 2 instrument. Vel (vol), SusDp
2 Lite
Glissando Harp 1 Maps Chromatic Harp 1 samples to the white notes of MIDI maps are used to
the keyboard. Simulate harp glissandos in real time by emulate pedals.
running your finger up and down the white notes.
Glissando Harp 2 Maps Chromatic Harp 2 samples to the white notes of MIDI maps are used to
the keyboard. emulate pedals.
Harp 1 KS A keyswitch instrument containing all the Chromatic Vel (vol), SusDp
Harp 1 instruments (C-1 = chromatic harp; D-1 = glis-
sando harp; G-1 = harp harmonics)
Harp 2 KS A keyswitch instrument containing all the Chromatic Vel (vol), SusDp
Harp 2 instruments (C-1 = chromatic harp; D-1 = glis-
sando harp; G-1 = harp harmonics)
Harp Harmonics Venus harp playing harmonics. SusDp
1
55
Appendices
Harp Harmonics Wurlitzer harp playing harmonics. SusDp
2
KEYBOARD INSTRUMENTS
Celesta Solo celesta instrument, made by Mustel. Vel (vol), SusDp, Sus (sus)
Glass Harmonica Emulation of a glass harmonica. Vel (vol)
Harpsichord KS The harpsichord is a double manual French harpsichord KS, Vel (vol), Sus (sus)
made by Hubbard. The stops are selected by keyswitches
(C-1 = 8’ stop; D-1 = 8’+4’ stop; E-1 = buff/lute stop,
muted sound)
Steinway Piano Steinway concert grand piano, chromatic with two Vel (vol), Sus (sus)
dynamics.
Steinway Piano Steinway concert grand piano, chromatic with two Vel (vol), Sus (sus)
Lite dynamics, using fewer samples.
Steinway Piano The instrument is mapped so two keyboards do not have Vel (vol), Sus (sus)
Duo 1 & Duo 2 samples in common. They can be used in piano duos.
Pipe Organ The pipe organ is a German Baroque organ build by Vel (vol), Fund, FiltLV,
Rudolf von Beckerath. It has three manuals and pedals, FiltFQ
each containing from 7 to 11 individual stops. Stops
include: Baroque Plen Reed Ped; Baroque Plen Reeds;
Baroque Plenum Ped; Baroque Plenum; Brustwerk All
stops; Cornet; Flutes; Full Organ; Haupt Mix; Hauptwerk
All Stops; Prinzipal; Scharf IV; Symphonic Plenum
PERCUSSION INSTRUMENTS
Basic Orch Per- See Appendix B: Percussion instrument mappings. Vel (vol), BDFund, BD
cussion Aggressive control VAR 1,
VAR 2, KS
Bass Drum KS See Appendix B: Percussion instrument mappings. BDFund, Vel (vol), KS,
VAR 1, VAR 2 aggressive
control
Crotales Crotales resemble small cymbals and produce a definite Vel (vol), VAR1, VAR2
pitch.
Cymbals KS See Appendix B: Percussion instrument mappings. Vel (vol), VAR1, VAR2, KS
Glockenspiel The glockenspiel is another name for orchestral bells. Vel (vol), VAR1, VAR2
Marimba The marimba has two rows of wooden bars that are played Vel (vol), SusDp, VAR1,
with beaters (mallets). VAR2
Handbells Handbells are sets of brass bells, each tuned to a particular Vel (vol), VAR1, VAR2
note of the scale.
Percussion Toys See Appendix B: Percussion instrument mappings. Vel (vol), VAR1, VAR2, KS
Snares KS See Appendix B: Percussion instrument mappings. Vel (vol), VAR1, VAR2, KS
Timpani KS See Appendix B: Percussion instrument mappings. Vel (vol), VAR1, VAR2, KS
Tubular Bells Tubular bells are also known as orchestral chimes. Vel (vol), SusDp, VAR 1,
VAR 2
56
Vibraphone The vibraphone has two rows of metal bars with electric Vel (vol) Sus Attack,
resonators that produce a distinctive vibrato or throbbing Length, TrmLev, TrmSpd
effect.
Wind Machine A wind machine is an effects instrument that emulates the MW (vol)
sound of wind. Made by Amati.
Xylophone The xylophone has two rows of graduated wooden bars, Vel (vol), SusDp
mounted in a frame, that are played with beaters (mal-
lets).
SECTIONAL STRING INSTRUMENTS
Vln 1 Lush A lush sustain with strong vibrato played by a twelve- Leg, MW, Vel, Port,
player first violin section. Length, VAR 1, VAR 2
Vln 1 Lush Mutes Same as above, played with mutes (con sordino). Leg, MW, Vel, Port,
Length, VAR 1, VAR 2
Vlns 1 Pizzicato First violin section played pizzicato. Velocity controls vol- Vel (vol), VAR 1, VAR 2
ume level and timbre changes (brighter at higher veloci-
ties).
Vlns 1 Short First violin section played short bow style, controlled by Vel (vol), KS, Length, VAR
Bows KS velocity. Uses keyswitch for bow direction control (D-1 = 1, VAR 2
alternate bow strokes; D#-1 = bow stroke 1; E-1 = bow
stroke 2)
Vlns 1 Short Vlns 1 Short Bows with more aggressive sound, con- Vel (vol), KS, Length, VAR
Bows KS ag trolled by velocity. Keyswitch as above. 1, VAR 2
Vlns 1 First violin section strings that combine characteristics of Leg, MW, Vel, Port,
Sustain+Short both long and short bows into single instruments. Length, VAR 1, VAR 2
Vlns 1 Vlns 1 Sustain+Short with more aggressive sound, con- Leg, MW, Vel, Port,
Sustain+Short ag trolled by the modulation controller (CC1). Length, VAR 1, VAR 2
Vlns 1 Sustain+ Same as above, played with mutes (con sordino). Leg, MW, Vel, Port,
Short Mutes Length, VAR 1, VAR 2
Vlns 1 Tremolo First violin section played tremolo. Leg, MW, Vel, Port,
Vlns 1 Trills Half First violin section played half-step (semitone) trills. Leg, MW, Vel, Port,
Vlns 1 Trills First violin section played whole-step (tone) trills. Leg, MW, Vel, Port,
Whole Length, VAR 1, VAR 2
Vlns 1 KS Keyswitch instrument containing all Vlns 1 instruments Leg, MW, Vel, Port,
(C-1 = Sus+short (legato with sustain pedal); C#-1 = Length, VAR 1, VAR 2, KS,
Sus+short mutes (legato with sustain pedal); D-1 = Alter- Alt
nate up- and down-bows; D#-1 Up-bows; E-1 = Down-
bows; F-1 = Pizzicato; F#-1 = Tremolo mutes (legato with
sustain pedal); G-1 = Tremolo (legato with sustain pedal);
G#-1 = Half-step trills mutes (legato with sustain pedal);
A-1 = Half step trills (legato with sustain pedal); A#-1 =
Whole-step trills mutes (legato with sustain pedal); B-1 =
Whole step trills (legato with sustain pedal).
57
Appendices
Vln 2 Lush A lush sustain with strong vibrato played by a ten-player Leg, MW, Vel, Port,
second violin section. Length, VAR 1, VAR 2
Vln 2 Lush Mutes Same as above, played with mutes (con sordino). Leg, MW, Vel, Port,
Vlns 2 Pizzicato Second violin section played pizzicato. Velocity controls Vel (vol), VAR 1, VAR 2
volume level and timbre changes (brighter at higher veloc-
ities).
Vlns 2 Short Second violin section played short bow style, controlled Vel (vol), KS, Length, VAR
Bows KS by velocity. Uses keyswitch for bow direction control (D-1 1, VAR 2
= alternate bow strokes; D#-1 = bow stroke 1; E-1 = bow
stroke 2)
Vlns 2 Short Vlns 2 Short Bows with more aggressive sound, con- Vel (vol), KS, Length, VAR
Vlns 2 Sustain+ Second violin section strings that combine characteristics Leg, MW, Vel, Port,
Short of both long and short bows into single instruments. Length, VAR 1, VAR 2
Vlns 2 Sustain+ Vlns 2 Sustain+Short with more aggressive sound, con- Leg, MW, Vel, Port,
Short ag trolled by the modulation controller (CC1). Length, VAR 1, VAR 2
Vlns 2 Sustain+ Same as above, played with mutes (con sordino). Leg, MW, Vel, Port,
Vlns 2 Tremolo Second violin section played tremolo. Leg, MW, Vel, Port,
Vlns 2 Trills Half Second violin section played half-step (semitone) trills. Leg, MW, Vel, Port,
Vlns 2 Trills Second violin section played whole-step (tone) trills. Leg, MW, Vel, Port,
Vlns 2 KS Keyswitch instrument containing all Vlns 2 instruments Leg, MW, Vel, Port,
Violas Lush A lush sustain with strong vibrato played by a ten-player Leg, MW, Vel, Port,
viola section. Length, VAR 1, VAR 2
Violas Lush Same as above, played with mutes (con sordino). Leg, MW, Vel, Port,
Mutes Length, VAR 1, VAR 2
Violas Pizzicato Viola section played pizzicato. Velocity controls volume Vel (vol), VAR 1, VAR 2
level and timbre changes (brighter at higher velocities).
Violas Short Viola section played short bow style, controlled by veloc- Vel (vol), KS, Length, VAR
Bows KS ity. Uses keyswitch for bow direction control (D-1 = alter- 1, VAR 2
nate bow strokes; D#-1 = bow stroke 1; E-1 = bow stroke
2)
58
Violas Short Violas Short Bows with more aggressive sound, con- Vel (vol), KS, Length, VAR
Violas Sustain+ Viola section strings that combine characteristics of both Leg, MW, Vel, Port,
Short long and short bows into single instruments. Length, VAR 1, VAR 2
Violas Sustain+ Violas Sustain+Short with more aggressive sound, con- Leg, MW, Vel, Port,
Violas Sustain+ Same as above, played with mutes (con sordino). Leg, MW, Vel, Port,
Violas Tremolo Viola section played tremolo. Leg, MW, Vel, Port,
Violas Trills Half Viola section played half-step (semitone) trills. Leg, MW, Vel, Port,
Violas Trills Viola section played whole-step (tone) trills. Leg, MW, Vel, Port,
Violas KS Keyswitch instrument containing all Violas instruments Leg, MW, Vel, Port,
Cellos Lush A lush sustain with strong vibrato played by an eight- Leg, MW, Vel, Port,
player viola section. Length, VAR 1, VAR 2
Cellos Lush Same as above, played with mutes (con sordino). Leg, MW, Vel, Port,
Cellos Pizzicato Cello section played pizzicato. Velocity controls volume Vel (vol), VAR 1, VAR 2
level and timbre changes (brighter at higher velocities).
Cellos Short Cello section played short bow style, controlled by veloc- Vel (vol), KS, Length, VAR
Bows KS ity. Uses keyswitch for bow direction control (D-1 = alter- 1, VAR 2
nate bow strokes; D#-1 = bow stroke 1; E-1 = bow stroke
2)
Cellos Short Cellos Short Bows with more aggressive sound, con- Vel (vol), KS, Length, VAR
Cellos Sustain+ Cello section strings that combine characteristics of both Leg, MW, Vel, Port,
Short long and short bows into single instruments. Length, VAR 1, VAR 2
Cellos Sustain+ Cellos Sustain+Short with more aggressive sound, con- Leg, MW, Vel, Port,
Cellos Sustain+ Same as above, played with mutes (con sordino). Leg, MW, Vel, Port,
Cellos Tremolo Cello section played tremolo. Leg, MW, Vel, Port,
59
Appendices
Cellos Trills Half Cello section played half-step (semitone) trills. Leg, MW, Vel, Port,
Cellos Trills Cello section played whole-step (tone) trills. Leg, MW, Vel, Port,
Cellos KS Keyswitch instrument containing all Cellos instruments Leg, MW, Vel, Port,
Basses Lush A lush sustain with strong vibrato played by a seven- Leg, MW, Vel, Port,
player double bass section. Length, VAR 1, VAR 2
Basses Lush Same as above, played with mutes (con sordino). Leg, MW, Vel, Port,
Basses Pizzicato Double bass section played pizzicato. Velocity controls Vel (vol), VAR 1, VAR 2
volume level and timbre changes (brighter at higher veloc-
ities).
Basses Short Double bass section played short bow style, controlled by Vel (vol), KS, Length, VAR
Bows KS velocity. Uses keyswitch for bow direction control (D-1 = 1, VAR 2
stroke 2)
Basses Short Basses Short Bows with more aggressive sound, con- Vel (vol), KS, Length, VAR
Basses Sustain+ Double bass section strings that combine characteristics Leg, MW, Vel, Port,
Short of both long and short bows into single instruments. Length, VAR 1, VAR 2
Basses Sustain+ Basses Sustain+Short with more aggressive sound, con- Leg, MW, Vel, Port,
Basses Sustain+ Same as above, played with mutes (con sordino). Leg, MW, Vel, Port,
Basses Tremolo Double bass section played tremolo. Leg, MW, Vel, Port,
Basses KS Keyswitch instrument containing all Basses instruments Leg, MW, Vel, Port,
60
Full Strgs Pizz Full string section played pizzicato. Velocity controls vol- Vel (vol), VAR 1, VAR 2,
ume level and timbre changes (brighter at higher veloci- Length
ties).
Full Strgs Short Full string section played short bow style, controlled by Vel (vol), KS, VAR 1, VAR
Bows KS velocity. Uses keyswitch for bow direction control (D-1 = 2, Length
stroke 2).
Full Strgs Sus- Full string section that combine characteristics of both Leg, MW, Vel, Port,
tain+Short long and short bows into single instruments. Length, VAR 1, VAR 2
Full Strgs Sus- Full Strgs Sustain+Short instrument with more aggres- Leg, MW, Vel, Port,
tain+Short ag sive sound, controlled by the modulation controller Length, VAR 1, VAR 2
(CC1).
Full Strgs Sus- Same as above, played with mutes (con sordino). Leg, MW, Vel, Port,
tain+Short Mutes Length, VAR 1, VAR 2
Full Strgs Trem- Full string section played tremolo. Leg, MW, Vel, Port,
olo Length, VAR 1, VAR 2
Full Strgs Trills Full string section played half-step (semitone) trills. Leg, MW, Vel, Port,
Half Length, VAR 1, VAR 2
Full Strgs Trills Full string section played whole-step (tone) trills. Leg, MW, Vel, Port,
Full Strgs KS Keyswitch instrument containing all Full Strgs instru- Leg, MW, Vel, Port,
ments (C-1 = Sus+short (legato with sustain pedal); C#-1 Length, VAR 1, VAR 2, KS,
= Sus+short mutes (legato with sustain pedal); D-1 = Alt
Alternate up- and down-bows; D#-1 Up-bows; E-1 =
Down-bows; F-1 = Pizzicato; F#-1 = Tremolo mutes
(legato with sustain pedal); G-1 = Tremolo (legato with
sustain pedal); G#-1 = Half-step trills mutes (legato with
sustain pedal); A-1 = Half step trills (legato with sustain
pedal); A#-1 = Whole-step trills mutes (legato with sus-
tain pedal); B-1 = Whole step trills (legato with sustain
pedal).
SOLO STRING INSTRUMENTS
Violin 1 Gagli Gagliano solo violin, principal violin. Combines charac- Leg, MW, Vel, Port, VAR 1,
Solo teristics of both long and short bows. VAR 2, Length
Violin 1 Gagli KS A keyswitch version of the Violin Gagli Solo instrument Leg, MW, Vel, Port, VAR 1,
Solo (C-1 = Sustain; C#-1 = Sustain mute; D-1 = Automati- VAR 2, KS, Alt, Length
cally alternating up and downbows; D#-1 = Upbows; E-1
= Downbows; F-1 = Pizzicato; F#-1 = Playable tremolo
mute; G-1 = Playable tremolo; G#-1 = Playable muted
trills (extended intervals can be chosen with CC16); A-1 =
Playable trills (extended intervals can be chosen with
CC16); A#-1 = Playable whole step muted trills; B-1 =
Playable whole step trills).
Violin 1 Gagli First player in an ensemble derived from Violin 1 Gagli Leg, MW, Vel, Port, VAR 1,
Plr1* Solo. VAR 2, Length
61
Appendices
Violin 1 Gagli Second player in an ensemble derived from Violin 1 Leg, MW, Vel, Port, VAR 1,
Plr2* Gagli Solo. VAR 2, Length
Violin 1 Gagli Third player in an ensemble derived from Violin 1 Gagli Leg, MW, Vel, Port, VAR 1,
Violin 1 Gagli Gagliano solo violin, played pizzicato. Velocity controls Vel (vol), VAR 1, VAR 2,
Pizz Solo volume level and timbre changes (brighter at higher veloc- Length
ities).
Violin 2 Strad Stradivarius solo violin, Concertmaster. Combines charac- Leg, MW, Vel, Port, VAR 1,
Solo teristics of both long and short bows. VAR 2, Length
Violin 2 Strad KS A keyswitch version of the Violin 2 Strad Solo instru- Leg, MW, Vel, Port, VAR 1,
Solo ment (C-1 = Sustain; C#-1 = Sustain mute; D-1 = Auto- VAR 2, KS, Alt, Length
matically alternating up and downbows; D#-1 = Upbows;
E-1 = Downbows; F-1 = Pizzicato; F#-1 = Playable trem-
olo mute; G-1 = Playable tremolo; G#-1 = Playable muted
Violin 2 Strad First player in an ensemble derived from Violin 2 Strad Leg, MW, Vel, Port, VAR 1,
Violin 2 Strad Second player in an ensemble derived from Violin 2 Leg, MW, Vel, Port, VAR 1,
Plr2* Strad Solo. VAR 2, Length
Violin 2 Strad Third player in an ensemble derived from Violin 2 Strad Leg, MW, Vel, Port, VAR 1,
Violin 2 Strad Stradivarius solo violin, played pizzicato. Velocity controls Vel (vol), VAR 1, VAR 2,
ities).
Violin 3 Guarn Guarneri solo violin, Concertmaster. Combines character- Leg, MW, Vel, Port, VAR 1,
Solo istics of both long and short bows. VAR 2, Length
Violin 3 Guarn KS A keyswitch version of the Violin 3 Guarn Solo instru- Leg, MW, Vel, Port, VAR 1,
Solo ment (C-1 = Sustain; C#-1 = Sustain mute; D-1 = Auto- VAR 2, KS, Alt, Length
matically alternating up and downbows; D#-1 = Upbows;
E-1 = Downbows; F-1 = Pizzicato; F#-1 = Playable trem-
olo mute; G-1 = Playable tremolo; G#-1 = Playable muted
Violin 3 Guarn First player in an ensemble derived from Violin 3 Guarn Leg, MW, Vel, Port, VAR 1,
Violin 3 Guarn Second player in an ensemble derived from Violin 3 Leg, MW, Vel, Port, VAR 1,
Plr2* Guarn Solo. VAR 2, Length
Violin 3 Guarn Third player in an ensemble derived from Violin 3 Guarn Leg, MW, Vel, Port, VAR 1,
62
Violin 3 Guarn Guarneri solo violin, played pizzicato. Velocity controls Vel (vol), VAR 1, VAR 2,
ities).
Viola Solo 18th century solo viola, principal viola. Combines charac- Leg, MW, Vel, Port, VAR 1,
teristics of both long and short bows. VAR 2, Length
Viola KS Solo A keyswitch version of the Viola Solo instrument (C-1 = Leg, MW, Vel, Port, VAR 1,
Sustain; C#-1 = Sustain mute; D-1 = Automatically alter- VAR 2, KS, Alt, Length
nating up and downbows; D#-1 = Upbows; E-1 = Down-
bows; F-1 = Pizzicato; F#-1 = Playable tremolo mute; G-1
= Playable tremolo; G#-1 = Playable muted trills
(extended intervals can be chosen with CC16); A-1 =
Viola Plr1* First player in an ensemble derived from Viola Solo. Leg, MW, Vel, Port, VAR 1,
VAR 2, Length
Viola Plr2* Second player in an ensemble derived from Viola Solo. Leg, MW, Vel, Port, VAR 1,
VAR 2, Length
Viola Plr3* Third player in an ensemble derived from Viola Solo. Leg, MW, Vel, Port, VAR 1,
VAR 2, Length
Viola Pizz Solo Solo viola, played pizzicato. Velocity controls volume level Vel (vol), VAR 1, VAR 2,
and timbre changes (brighter at higher velocities). Length
Cello 1 Solo Vuillaume solo cello, principal cello. Combines character- Leg, MW, Vel, Port, VAR 1,
istics of both long and short bows. VAR 2, Length
Cello 1 KS Solo A keyswitch version of the Cello 1 Solo instrument (C-1 Leg, MW, Vel, Port, VAR 1,
= Sustain; C#-1 = Sustain mute; D-1 = Automatically VAR 2, KS, Alt, Length
alternating up and downbows; D#-1 = Upbows; E-1 =
Downbows; F-1 = Pizzicato; F#-1 = Playable tremolo
Cello 1 Plr1* First player in an ensemble derived from Cello 1 Solo. Leg, MW, Vel, Port, VAR 1,
VAR 2, Length
Cello 1 Plr2* Second player in an ensemble derived from Cello 1 Solo. Leg, MW, Vel, Port, VAR 1,
VAR 2, Length
Cello 1 Plr3* Third player in an ensemble derived from Cello 1 Solo. Leg, MW, Vel, Port, VAR 1,
VAR 2, Length
Cello 2 Solo Montagnana solo cello, principal cello. Combines charac- Leg, MW, Vel, Port, VAR 1,
teristics of both long and short bows. VAR 2, Length
63
Appendices
VAR 2, Length
VAR 2, Length
VAR 2, Length
Cello 3 Solo Gofriller solo cello, principal cello. Combines characteris- Leg, MW, Vel, Port, VAR 1,
tics of both long and short bows. VAR 2, Length
VAR 2, Length
VAR 2, Length
VAR 2, Length
Cello Pizz Solo Solo cello, played pizzicato. Velocity controls volume level Vel (vol), VAR 1, VAR 2,
and timbre changes (brighter at higher velocities). Length
Dbl Bass Solo 18th century solo double bass. Principal. Combines char- Leg, MW, Vel, Port, VAR 1,
acteristics of both long and short bows. VAR 2, Length
Dbl Bass KS Solo A keyswitch version of the Dbl Bass Solo instrument (C- Leg, MW, Vel, Port, VAR 1,
1 = Sustain; C#-1 = Sustain mute; D-1 = Automatically VAR 2, KS, Alt, Length
Dbl Bass Plr1* First player in an ensemble derived from Dbl Bass Solo. Leg, MW, Vel, Port, VAR 1,
VAR 2, Length
64
Dbl Bass Plr2* Second player in an ensemble derived from Dbl Bass Leg, MW, Vel, Port, VAR 1,
Solo. VAR 2, Length
Dbl Bass Plr3* Third player in an ensemble derived from Dbl Bass Solo. Leg, MW, Vel, Port, VAR 1,
VAR 2, Length
Dbl Bass Pizz Solo double bass, played pizzicato. Velocity controls vol- Vel (vol), VAR 1, VAR 2,
Solo ume level and timbre changes (brighter at higher veloci- Length
ties).
65
Appendices
Appendix B:
Percussion instrument mappings
Listed below are the MIDI pitches used for each unpitched percussion sound in
GPO’s percussion instruments. Plug these values into the Use MIDI pitch option
in the Edit Staff Type dialog when modifying existing GPO percussion staff types
or creating your own (see Creating your own percussion staff types on page
41).
Bass Drum KS
MIDI pitch Description
C2 Bass drum hit
C#2 Bass drum roll (controlled by modulation wheel)
Keyswitches:
* C–1: Hits full decay
* D–1: Hits hand dampened
Snares KS
G#3 Side drum hit (left hand)
A3 Side drum hit (right hand)
A#3 Side drum roll (controlled by modulation wheel)
B4 Keyswitch (left/right hits, left hand, right hand, roll)
Keyswitches:
* C–1: Alternate hits (left- and right- hand)
* D–1: Left-hand hits only
* E–1: Right-hand hits only
* F–1: Roll 1 (controlled by modulation wheel)
66
Appendix B: Percussion instrument mappings
Timpani KS
D2–G3 Timpani hits (left hand)
D4–G5 Timpani hits (right hand)
Keyswitches:
* C–1: Hits full decay
* D–1: Hits hand dampened
Cymbals KS
G#5 Large gong
A5 Medium gong 1
A#5 Tam tam
B5 Medium gong 2
C6 Piatti cymbal 1
C#6 Piatti cymbal 2
D6 Piatti cymbal 3
D#6 Crash cymbal
E6 Choke cymbal
F6 Keyswitch (left/right ping, left only, right only, roll 1, roll 2)
Keyswitches:
* C–1: Alternate pings (left- and right- hand)
* D–1: Left-hand pings only
* E–1: Right-hand pings only
* F–1: Roll 1 (controlled by modulation wheel)
* G–1: Roll 2 (controlled by modulation wheel; not directly supported)
67
Appendices
Percussion Toys
A#3 Cowbell 1
B3 Cowbell 2
C4 Cowbell 3
C#4 Gourd 1
D4 Gourd 2
D#4 Shaker 1
E4 Shaker 2
C5 Tambourine pop
C#5 Tambourine shake
D5 Castanet hit
D#5 Castanet roll
E5 Clave 1
F5 Clave 2
F#5 Ratchet
G5 Sleigh bells
G#5 Mark tree
A5 Triangle short (add sustain pedal or ~C64,127 for dampened)
A#5 Triangle long (add sustain pedal or ~C64,127 for dampened)
68
Appendix B: Percussion instrument mappings
Basic Orchestral Percussion
C3 Bass drum hit
C#3 Bass drum roll (controlled by modulation wheel)
D3–G4 Timpani hit (left hand)
G#4 Side drum hit (left hand)
A4 Side drum hit (right hand)
A#4 Side drum roll (controlled by modulation wheel)
B4 Snare drum keyswitch (left/right hit, left only, right only)
G#5 Large gong
A5 Medium gong 1
A#5 Tam tam
B5 Medium gong 2
C6 Piatti cymbal 1
C#6 Piatti cymbal 2
D6 Piatti cymbal 3
D#6 Crash cymbal
E6 Choke cymbal
F6 Cymbal keyswitch (left/right ping, left only, right only)
A#6 Cymbal roll crescendo
B6 Triangle long
C7 Triangle short
Keyswitches:
* C–1: Alternate hits (left- and right- hand)
* D–1: Left-hand hits only
* E–1: Right-hand hits only
69
Appendices
70
License Agreement
License Agreement
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The Product is copyright © Sibelius Software Limited and its licensors 2005.
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“Software”: Kontakt Gold, Garritan Personal Orchestra Sibelius Edition or Sibelius Rock & Pop Collection (as
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Garritan Personal Orchestra

User Guide written by Daniel Spreadbury, with contributions by Gary Garritan,

Garritan Personal Orchestra Sibelius Edition User Guide copyright © Sibelius

Before you install

Before you install

Installing Garritan Personal Orchestra

How to get help

GPO in five minutes

Choosing an appropriate sound set

Adjusting the default choice of sounds

Just hit Play

How to use the Kontakt Player

Choosing a sound set

How to change sound set

GPO sound sets

Creating your own sound set

Know your limits

Choosing which instruments to use

Percussive and sustaining instruments

Instruments sharing the same staff

What Sibelius interprets

Tweaking things further

Instruments and staff types

You can use notehead types 0, 1 or 2 on the cymbal staff type.

Creating your own staff types

Setting up Kontakt Player

For further reading

Garritan Personal Orchestra Options

Fine-tuning your performance

Completely disabling all special playback

Temporarily disabling special playback

Capabilities of GPO string instruments

How the sounds are programmed

Capabilities of GPO woodwind instruments

How the sounds are programmed

Capabilities of GPO brass instruments

How the sounds are programmed

Creating your own percussion staff types

Capabilities of GPO percussion instruments

How the sounds are programmed

Keyboards and harp

Steinway Concert Grand Piano

Celeste and Glass Harmonica

Concert Pipe Organ

Appendix A: List of instruments

Name Description Controls

Piccolo Vib Solo Principal piccolo. played vibrato. Made by Hammig.

Glass Harmonica Emulation of a glass harmonica. Vel (vol)

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