LA SCORING STRINGS 3

Version 3 1
The LA Scoring Strings 3 sample library described herein is supplied under a formal license agreement that you enter into when using LA
Scoring Strings 3. Please refer to the Audiobro License Agreement PDF inside the documentation folder of the LA Scoring Strings 3 Library folder. 

The data contained in this user guide is for informational purposes only and may be changed without prior announcement. The contents, images,
and information in the user guide do not constitute a legal obligation by Audiobro. Audiobro is not responsible for any eventual faulty or inaccurate
information contained in this user guide. The user guide and all parts thereof may not be reproduced or hosted on a website for
commercial or any other use without the prior and explicit written permission of Audiobro. All trademarks are acknowledged as the
property of their respective owners. 

The entire LA Scoring Strings 3 sample library is based on the performances of “real musicians” and the utmost care was taken in preserving the
human feel of these performances. It is these human “elements” (natural variances and imperfections in performance and sound) that create the
realistic sound you hear when using LA Scoring Strings 3. Any imperfections in sound and performance are to be considered “by design” and are
subject to change only at Audiobro’s discretion.

© 2021 Audiobro

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 Table of Contents
Welcome to LA Scoring Strings 3........5 Articulation Section........................20 Look Ahead............................................37
Quick Start Guide ..................................6 Articulation Area..................................20 What is Look Ahead? ..........................37
Loading Instrument Patches ...............6 Sidebar................................................21 How to use Look Ahead ......................37
Patch Articulation Modes ....................7 Articulation Settings in General...........21 Look Ahead Tips .................................38
Conventions ........................................7 Articulations in Detail ...........................22 Ensemble Page......................................39
Batch Re-save .......................................8 Legato | Sustain Settings...............22 Stage .............................................40
Speed Up Loading.........................8 Legato Playing Style and Auto Divisi ..22 Depth Control......................................41
Articulations and Patches List.............9 Volume | Vibrato..................................23 Stage Type and Stage Preset .............42

Articulations ...................................9 Playback (Leg or Sus).........................23 Stage Editor ........................................42

Legato - Port. - Gliss. Slider................23 Divisi Section ......................................43
Sustains ..............................................9
A.M.G. (Anti Machine Gun / Sustain and Volume (divisi section) ........................44
Real Legato.........................................9
Legato Round Robin)..........................24 Width...................................................44
Shorts..................................................10
Custom Envelope................................24 Position ...............................................44
Shorts (without bow) ...........................10
Transition Speed | Volume ..................24
LASS 3 Articulations List .....................11 Ensemble Section .........................45
Legato Deep Editor .............................25
Divisi Ensembles Chart ........................12 Ensemble Menu ..................................45
Legato Tables......................................25
Ensemble Builder................................45
Default CC Assignments ......................13 Shorts ............................................26
Ensemble Builder Editor .....................45
Performance Page.................................14
Auto Rhythm Tool (ART)................27 Auto Divisi ...........................................46
Real-time Controls.........................15 Basic A.R.T. Controls ..........................28 Auto Divisi Editor.................................47
Dynamics ............................................15 Pizzicato ........................................31 Humanization ......................................48
Dynamics Editor..................................16
Tremolo .........................................31 Humanization Editor............................49
Volume ................................................16
Trills ...............................................32 Mixer .......................................................50
DynSync..............................................16
Harmonics .....................................33 Mixer Channel.....................................51
Dynamics Smoothing Options.............17
Insert’s List..........................................52
Filter (main lter knob) ........................17 Bartok Pizz. (Basses only) ............34
Sends..................................................53
Filter Editor (main lter).......................17 Switcher .................................................35
Automation..........................................54
Brightness ...........................................18 Switcher (basic) .............................35
Modulation ..........................................55
Detune ................................................18 Switcher Editor (advanced) ...........36
Signal Path ....................................56
Detune Editor ......................................19

Continued…
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 Articulation Sets (Logic).......................57
What are Articulation Sets? ...........57
Installation .....................................58
Articulation Set Types....................58
Loading Articulation Sets...............59
Expression Maps (Cubase) ..................60
What are Expression Maps? .........60
Expression Map Types ..................60
Loading Expression Maps .............60
Pairing Down The Articulation List.61
Sound Variations (Studio One) ............62
What are Sound Variations?..........62
Sound Variation Types...................62
Installation .....................................62
Loading Sound Variations..............63
CPU and RAM Considerations .............64
CPU Considerations......................64
RAM Considerations .....................65
Speci cations ........................................66
System Requirements ...................66
Supported Interfaces .....................66
Special Thanks ......................................67

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 Welcome to LA Scoring Strings 3
LA Scoring Strings 3 reinvents our classic strings library by seamlessly integrating it into our new orchestral engine. This provides for a
whole new host of features that were not available to LASS until now. This 60-piece multi-instrument divisi library was painstakingly
developed by recording 3 different divisi sections (1/4 + 1/4 + 1/2 section at a time) on a trusted scoring stage giving you unprecedented
individual control of 3 divisi sections.

From the delicate tones of a divisi section playing Sustains and harmonics, to the power of Staccatos and Spiccatos, and everything in
between — LA Scoring Strings 3 is a library that fully captures the broad expressive range and diversity of the orchestral string family.
Pristine recordings and meticulous editing ensure every note of your music will shine.

Here are just some of LA Scoring Strings 3’s features:

• Master Patch Polyphonic Real Legato: Our renowned legato, portamento, and glissando with speed and rebow control.
• Shorts: Staccato, Spiccato, Pizzicato, and Bartok pizzicato on the basses. Recorded all with numerous round robins at multiple
dynamics.
• Easily build your own player ensemble or use our pre-made ensembles.
• New Audiobro engine supports Kontakt 6.04+ and NKS-enabled hardware.
• New Auto Divisi engine with all-in-1 patches.
• Independent control of divisi section tuning, humanization, and vibrato.
• Advanced Key Switching by Key, CC, velocity, and combinations thereof.
• Control Dynamics the way you prefer: CC, velocity, or a combination.
• Assignable Repeat Key makes playing double and triple tongue chords (and same-note-legato) simple and fun.
• Full manual vibrato control: By default all instruments play a natural vibrato commensurate to dynamic, but if you prefer you can enable
full manual vibrato control
• The next generation of A.R.T. (the Auto Rhythm Tool) with MIDI export, synced modes, arpeggiator, and ostinato tool.

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 Quick Start Guide
LA Scoring Strings 3 is really easy to use. You can simply load a patch and play. There are a few types of patches and we’ll discuss where
you can nd them, their naming convention, and how to load them.

Loading Instrument Patches

You start by loading one the Instrument patches - located in the Instruments
folder in the Browser:




Click on the Instruments

button to reveal the
String instruments.

The main Instrument patches are in the root of the folder, but there are additional patches organized into additional folders:

1. Split Divisi - This folder contains each divisi section from the master patches split into separate instruments.
2. Full Mix - This folder contains patches where only the Full Mix is available. They are otherwise identical to the master
patches, but because the other zones are not present the instruments will load faster and keep your projects and template
sizes smaller. Sonically these patches are identical to the master patches when no additional mics are loaded.

Make sure you have the MIDI channels set the way you want. If you don’t see the MIDI channel information, make sure to
click on the “i” icon as seen here to show the MIDI information.

Output and MIDI “i” information icon to show

channel elds. the MIDI and output elds.

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 Patch Articulation Modes

No matter what patch or snapshot you load, you can always change its articulation by clicking on the available articulation
tiles (Legato, Sustains, Shorts, etc.):

Conventions
There are various types of patches in LA Scoring Strings 3 as well as “Snapshots” of those patches. One thing to keep in
mind is that the Snapshots are derived from the parent patch that you loaded. For example, if you load in a default LA
Scoring Strings 3 patch, then all the snapshots located under the snapshots menu will be based on that patch.

 Batch Re-save
Speed Up Loading
If you nd that patches are loading slower than you would like, it’s a good idea to Batch Re-save your library. In fact, we recommend Batch
Re-saving libraries whenever Kontakt libraries are rst installed on your machine, or after any update that replaces instrument or multi les.
To batch re-save:

1. Open Kontakt in Stand-Alone mode (not hosted in a sequencer) and navigate to the File icon
( oppy icon) and click on it:








2. Navigate to the Batch re-save option:

















3. You will be prompted with this message… but don’t be too afraid:

… just click “Yes”.












4. Navigate to your Library folder (in this case LA Scoring Strings 3

Library folder) and select the folder. Then click Open.




5. Wait patiently as Kontakt re-saves your instruments. After it’s done, your instruments should load
faster.


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 Articulations and Patches List
Articulations

Sustains
Multiple dynamic sustains that blend smoothly into legato, portamento and glissando transitions.

Articulation Description Looped

Arco Your typical bowing played from ppp to fff. With both vibrato and non-vibrato real-time √
control. Performed as Normal, Accented, and Crescendo sustains.

Sordino Performed with a mute and played from ppp to fff with both vibrato and non-vibrato real-time √
control. Performed as Normal, Accented, and Crescendo sustains.

Tremolo The note is played by rapidly moving the bow back-and-forth from ppp to fff. √

Trills These were recorded in with both Minor and Major 2nd trills from ppp to fff. They can also √
be played in an intelligent diatonic mode.

Harmonics We have recorded both ngered and natural harmonics at the dynamic that elitist the best √
sound (typically p).

Real Legato
Legato has always been a centerpiece at Audiobro. For LA Scoring Strings 3 we recorded Legato, Portamento, and Glissando
transitions where the user can (in real-time) change the transitions speed and volume to best suit their needs. Our Legato
engine also adapts the transition behavior to suit how fast you are playing, adding new levels of realism.

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 Shorts
All the shorts below are all available in real-time and can be controlled in a variety of ways: Continuous Controller, Velocity, or
playback speed. They are all located under the same articulations category “Shorts” so it’s easy to control their performance.

With combined divisis playing at the same time, you can have up to 64 round robins.

Articulation Description

Staccato Staccato notes played with both up-bows and down-bows from ppp to fff.

Spiccato The bow bouncing off the sting (as opposed to an on-the-string bowing) from ppp to f. Great for very
fast and nimble parts.

Shorts (without bow)

Additional commonly used shorts played without using the bow.

Articulation Description

Pizzicato Plucking the note with the nger as opposed to bowing. User can control the duration with the “Tighten”
knob.

Bass Bartok Pizzicato For the basses, we had the players pull the string back and let it slam into the ngerboard thus creating
the famed Bartok Pizz. sound.

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 LASS 3 Articulations List


All of these articulations are available in LASS Full 3. Legato Sordino is now included in LASS Full 3.


*The Violins II and 2nd Chair patches are derived from the sample pool of the rst chars, but are programmed so that there is no phasing between them. 11
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 Divisi Ensembles Chart

LASS 3 Divisi Sections Chart

Violin 1 FC Violin 2 FC* Viola FC Cello FC Bass FC

Violins 1A: 4 players Violins 2A: 4 players* Violas A: 3 players Cellos A: 3 players Basses A: 2 players
Violins 1B: 4 players Violins 2B: 4 players* Violas B: 3 players Cellos B: 3 players Basses B: 2 players
Violins 1C: 8 players
 Violins 2C: 8 players*
 Violas C: 6 players
 Cellos C: 4 players
 Basses C: 4 players




* Samples derived from Violins 1 sections

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 Default CC Assignments
CC# Explanation
CC1 Controls the dynamic layers of the patch (ppp through fff) and also the volume of those layers.

CC2 Controls the Non Vibrato to Vibrato knob (NV-Vib). The NV-Vib manual mode must be enabled to hear this effect.

CC3 Controls the Detune knob.

Lets you ride the different variations of an articulation:

CC4 Sustains - Cresc., Norm, Accent
Shorts - Staccato, Spiccato

CC7 This controls the master volume of the patch.

CC8 This controls Basses 3-note and 4-note slider.

CC9 This controls the various articulation faders: Sustains Legato-Portamento-Glissando

CC11 This adds one more level of volume control for added exibility.

CC12 Cutoff of the Filter on the Performance Page.

CC13 Resonance of the Filter on the Performance Page

CC14 Brightness knob on the Performance Page — adds or subtracts brightness to the overall sound.

Tighten knob on Shorts page lets you tighten the duration and release of the shorts. This is very useful for faster
CC15
rhythmic passages.

CC30 Turns On/Off the Auto Divisi feature.

Legato –– When held, you can release notes and they will hold until your next legato note transition.
CC64 (Sustain Pedal)
A.R.T. –– When set to the Shorts articulation, you can use the Sustain Pedal to invoke the A.R.T. feature.

CC90 Turns On/Off the Detune feature.

CC48-60 Do Not Use! These CCs (including 48 and 60) are used internally by the instrument. Do not use these CCs.

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 Performance Page

The Performance Page is like your “home.” This is where you may spend most of your time. We have made a concerted effort to bring the
most commonly used features and controls to this page. The most often-used real-time controls are located here and many users may not
venture much further than this page. That said, the tweakers will have plenty to dig into in our deeper editors and other pages.

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 Real-time Controls

All the real-time interface controls can be assigned to a user’s choice of Continuous Controllers. However, Audiobro has already
programmed them in a logical manner and to conventional industry standards where applicable.

Dynamics

The Dynamics control is probably the most prominent real-time controller on the LA Scoring Strings 3
interface. This control affects both the recorded performance dynamic and volume and is the most critical
control to achieve an expressive performance. Notice the cog icon that you can click on to open the
Dynamics Editor (to the right of the word “Dynamics”). In this library, you will see this type of “cog” icon in
various places, and in every case, it will open an editor to the associated control.

By default, the Dynamics knob is assigned to CC1. You can Right-Click (Ctrl-Click on Mac) to assign
another CC to this control if your prefer.

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 Dynamics Editor

The Dynamics editor allows you to decide how you want to control the dynamics of
the library. The horizontal Dynamics slider at the top mirrors the position of the
Dynamics knob on the front page so you can see its level when the editor is open. By
default, Dynamics are assigned to CC+Vel mode, which means that the knob
position (controlled by CC1 by default) is the source of any sustained-noted dynamic
and note velocity, scaled to CC dynamics is the source of short-note velocity.

In CC mode, the dynamics knob and CC1(by default) is the sole source of dynamic
control across all articulations.

In CC Lng | Vel Shrt mode all sustain dynamics are controlled by CC and shorts are
controlled solely by note on Velocity.

In CC+Vel mode the sustained dynamics are controlled by CC. But Shorts are
controlled using a combination of CC and Note On velocity. When the Dynamics CC is
up all the way you will have full control of short note dynamics via note on velocity. As the Dynamics CC is lowered, it scales
the dynamics of your note velocities accordingly.

In Velocity mode the strength of your note ons (velocity) is the sole determining factor for your dynamic, and the dynamic is
not uid or controllable after the value has been set.

When drawing your Dynamics curve, you can use the Shape slider to help you as well as the smoothing button to smooth out
the table. Hint: holding Cmd/Ctrl and dragging the mouse on the velocity table will create perfectly linear lines.

Volume

The Volume Knob controls the volume of the sound but does not alter the dynamic performance (p, mf, ff, etc.) of the
playback. While it does not allow for the expressiveness of Dynamics, it can be very useful as a second level of
volume control. The Volume control is assigned to CC11 by default. There is a triangle that will open some additional
controls (DynSync — see below).

DynSync
When “DynSync” is turned ON, the Volume knob will follow the big Dynamics knob (CC1). You can also use the small
knob next to the “DynSync” button to control how much affect the DynSync has on the Volume knob. This can be
useful if you think that the volumes of the dynamics don’t go low enough for you. 


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 Dynamics Smoothing Options

There are some additional controls available for Dynamic Handling in the “Smoothing”
section.

Dynamic Smoothing will add a variable amount of smoothing to your CC moves. Higher
values of the knob will result in more smoothing, but less immediate control. Also note that
the smoothing effect CPU requirement does scale with the amount applied. By default we
turn this off.

Volume Range allows you to manually change the volume range the instrument uses. These are set to “correct” values by
default, but there are a few reasons you might consider changing the default. If you want the instrument dynamics to work all
the way down to silence (nienté), increase the volume range all the way. If on the other hand you nd the volume shifts too
pronounced and would prefer to manually control volume more independently of Dynamics, you can decrease this amount.

Upper Register Dynamic Realism scales the output volume of each instrument naturally in the higher registers. This effect
is missing in most sample libraries that normalize their samples, and is a true re ection of how these instruments sound in
real life. If you don’t want the dynamics to naturally decrease in the upper registers you can turn this knob down. By default it
is set at 100% to best represent the real instruments.

Filter (main filter knob)

The Filter amount knob applies a user de nable lter to the whole instrument and affects the sound before the
sound reaches the Mixer. Note, you can also add other lters to the sound and modulate them using Modulation
tables (see the Mixer section for this).

Filter Editor (main filter)

By clicking on the cog, you will open the Filter Editor. Here, you can choose the
lter type you’d like to use with the drop down menu. The Frequency and
Resonance of the loaded lter are both MIDI-assignable by right clicking on the
knobs and moving a Continuous Controller (CC). The Frequency knob in the editor
is the same control that exists when the editor is closed (the Main Filter knob) and
any MIDI assignment made is present in both views.

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 Brightness

The Brightness knob gives you easy access to boosting or cutting the high-end “Brightness” component of the
sound. At 12 O’Clock, or when the Brightness power button is OFF, the Brightness knob will yield no change to
the sound. Turning the knob clockwise adds brightness, and turning it counter clockwise makes the sound darker.
This knob is MIDI-assignable by right-clicking on the knob and assigning a Continuous Controller (CC) to it.

Detune

This Detune knob detunes each divisi section of the ensemble discretely, giving you a wonderfully controllable
Aleatoric String sound. In practice, this is like telling the 4 sections of the String each to do a different pitch bend.
Great for horror scores, tense moments, and more. The Detune knob is assigned to CC3 by default.


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 Detune Editor
This slider mirrors the value (position) of the rotary knob on the front of the
interface.

The divisi buttons allow you to select which divisi’s tuning controls you would
like to edit. In this example, if the Violins patch was loaded, “Divisi D” would
correlate to Violins Divisi 2A (the last divisi), On Cellos, Divisi B would
correlate to Cellos B.

Here, you can draw how each note of the octave (C to B) is to be detuned. Going
above their center line means tuning up, and below means tuning down.

Table Range – The maximum range that each table step allows tuning up or down.

Randomize – This button will automatically randomize the table for you.

This Pitch Motion section can be turned On/Off using the radio button. It assigns an LFO (low frequency oscillator) to the tables and
adds a lot of motion. It can range from very subtle to radical. The Range knob dictates how much frequency modulation there will be and
the Speed knob dictates the speed at which the modulation will oscillate.

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Articulation Section

This Articulation section is comprised of the Articulation Tiles, the Sidebar section, and the sub-articulation settings. All of the settings you
see above, as well as the sub-articulation settings for all tiles can be saved within the Articulation Presets Menu (seen above as
named “Legato”)

Articulation Area

This is the Articulation Presets Menu. It stores up to 20 presets with all the
What instrument is loaded. settings from all tiles above saved.

Articulation Tiles— This is where you can choose the articulation you want to
play.

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 Sidebar

Layer — When you press this button, you can layer multiple articulations (tiles). Subsequently, clicking
on multiple tiles will layer the respective articulations. To access the controls of a layered articulation,
click on the cog within the desired tile.

Release Triggers (RTs) — When ON,

this will automatically play the release
tails of the legatos, sustains, and trills.
This will not affect shorts

Repeat Key — This lets you assign a key (it will become purple on the Kontakt keyboard) that will
repeat the last note or chord played. This is very useful for playing back rapid same-note rhythms and
same-note legato.

Articulation Settings in General

In each patch, the sub-articulation settings you see will depend on which articulation (tile) you have selected. Here
you can see the “Shorts” articulation settings below the tiles.

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 Articulations in Detail
Legato | Sustain Settings
Legato — An articulation with smooth connections between notes/chords. Audiobro uses its own
proprietary legato algorithms to give you realistic and compelling legato transitions.

It is important to understand the relationship between the Legato settings and Auto Divisi (please also
refer to the Auto Divisi section discussed later).

When Auto Divisi is ON:

•There will be polyphonic legato. You will be able to play chords and have a predicable legato sound
between the notes of your chords.

When Auto Divisi is OFF:

• There will be monophonic legato. You will only be able to play one note at a time.

Legato Playing Style and Auto Divisi

In order for the legato feature to work, you must play in a certain way.

When Auto Divisi is ON:

• Without using sustain pedal — play chords naturally and sequentially. In order to help create transitions between
your notes, Auto Divisi adds a small amount of extension on to your notes (de nable in the Auto Divisi Release
Window setting and set to 50ms by default). New notes played within this release window will be transitioned to.

• While using the sustain pedal — You must release a note before playing the next note to trigger a transition.
Because the sustain pedal holds your notes you can almost think of this playing style as a staccato-plucked style. For
instance, hold the pedal, play a chord and quickly release. Then play another chord. You should hear all the notes
transition.

When Auto Divisi is OFF:

• Play monophonically, slightly overlapping your notes to create legato transitions.


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 Volume | Vibrato

Volume –– This lets you set a volume per articulation. By default, the volumes of each articulation are set
to match the other articulations. The knob value is saved in the articulation preset (user savable).

Vibrato — When turned off the knob will not be available, and the instrument will use a natural amount of
vibrato, commensurate to the dynamic you are using. When turned on, this lets you control the amount of
Vibrato you want a player to exhibit. Note: Manual vibrato control will double your voices and requires additional CPU for
playback.

Playback (Leg or Sus)

Legato — This button turns on/off the smooth note connections during playback.

Legato - Port. - Gliss. Slider

This slider lets you choose whether you play a Glissando, Portamento, or Legato type transition
between two legato notes.

With the dropdown menu, you can choose to control this slider by Slider or Velocity or
Inverted Velocity:

• Slider –– You ride the slider with your mouse to change the sound, or you can assign a CC to the slider and ride it with
your hardware. By default this is set to CC9.
• Velocity –– The velocity at which you play (how hard you play notes) will dictate whether you trigger Gliss, Port, or Leg.
Use the slider bars to change the velocity ranges assigned to each attack.
• Inverted Velocity –– This is the same as velocity, but inverted. In other words, the lighter you play the more the slider will
move to the right. Use the sliders to change the velocity ranges assigned to each attack.

Note: When you select Velocity or Inverse Velocity, you will see slider “heads” that you can
move to de ne the velocity range of each articulation. To the left, you’ll notice the attacks
are from: Gliss (1-13), Port (14-50), Leg from (51-127) Sustain Settings.


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A.M.G. (Anti Machine Gun / Sustain and Legato Round Robin)

By automatically borrowing and pitch shifting adjacent samples the playback engine can provide you with up to
3xRR for both sustain samples and legato transitions. These buttons allow you to enable this feature
independently for both types of samples.

Custom Envelope

Here you can override the pre-programmed Attack, and Release settings of your sustains. Note: These setting
will not affect notes played in a legato fashion when the Legato button is ON. The “Custom” button acts as a
master on-off for the envelope. When you expand the envelope settings panel you must also turn on the power
button for any of the settings you want to alter. When turned off the attack and release use the default Audiobro-
programmed settings. These settings are saved in the Articulation Presets.

•Curve –– Choose between a convex, linear and concave attack shapes.

•Attack Length –– Change the attack length (or duration if you prefer) to suit your own
needs.
•Release Length –– Change the release length to suit your own needs. You will
probably want to turn off RTs when using this.

Transition Speed | Volume

Transition Speed –– This control smoothly morphs between a slow/latent legato that sounds
clear and transparent and a fast legato that has a blurrier transition sound. If you are looking for a
clean and exposed legato sound try keeping the knob between 9 and 11 o’clock. If instead you
prefer the fastest response to your playing you can use values at 12 o’clock and on. This control
is safe to use in realtime via CC or automation.

TIP: If you previously used LA Scoring Strings 3 1.0 you will get the same legato sound
and response when the knob is turned up all the way.

Auto Transition Speed –– When enabled the Transition speed will automatically adapt to your playing based on our tested range of
values.

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Legato Deep Editor

When you open the Transition Panel you’ll nd additional controls that can further alter the legato performance.

Leg Speed, Port Speed and Gliss Offset –– These knobs give you
discrete control over the Legato, Portamento, and Glissando
transition offsets. Lower values start the transition earlier while later
values push further into the transition. For instance, if you turn the
Port Offset up all the way you will lose much of the note glide and get
a sound almost like a regular legato.

Auto Legato Offset — When enabled, the Legato transition offset will
automatically be adjusted to sound best for the speed at which you
are playing. This works in addition to and is complementary to the
adaptive speed scaling that is always active. To change the Auto
Mode response, open the Kontakt Editor and choose the rst script
slot and play with this tables (as seen on the 2nd image):

Trans Vol — This knob controls the volume of the transitions between
notes. When the “Auto” mode is enabled this will be adjusted to match
your playing speed. Generally the transitions are slightly elevated
during faster performances.

Legato Tables

Open the Kontakt Editor, click on the Scripts button and choose the rst
script to get the Legato tables. This is considered an advanced feature.

Legato Offset Table — This table lets you adjust the response of the
Legato Offset knob above. The tables is bases on have fast you play
notes — Slower to the left, faster to the right.

Transition Volume Table — This table lets you adjust the response of
the Trans Vol knob above. The tables is bases on have fast you play
notes — Slower to the left, faster to the right.

Transition Speed Table — This table lets you adjust the response of
the Trans Speed knob above. The tables is bases on have fast you
play notes — Slower to the left, faster to the right.
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Shorts
There are 2 different types of shorts included with LA Scoring Strings 3: Staccato, and Spiccato. You’ll notice they get shorter as you
move the slider to the right.

Shorts Selection — this menu lets you choose how to switch between short durations. The options are:
• Slider –– Ride the slider to change the shorts. The slider is also CC-able and is pre-assigned to CC4.
• Velocity –– The slider changes based on how hard you play the keys. Harder = faster shorts. Velocity ranges for
each short can be customized.
• Inverted Velocity –– The slider changes position based on how hard you play the keys. Softer = faster shorts.
Ranges for each short can be customized.
• Speed –– Our algorithm will detect how fast you are playing and will adjust accordingly.
• KeySwitch Velocity –– The slider changes position based on how hard you play the assigned Short Note KeySwitch.
Softer = faster shorts. Ranges for each short can be customized.
• KeySwitch Inverted Velocity –– The slider changes position based on how hard you play the assigned Short Note
KeySwitch. Softer = slower shorts. Ranges for each short can be customized.

Round Robin Mode –– lets you

Slam— This lets you add a layer of a faster articulation to have a more pronounced choose between a linear and
sound. This will double your voice count. random Round Robin mode.

Marc— Turns on marcato mode where short notes are layered Rhythm Tool— See next
Volume – with a sustain and your velocity dictates the attack strength. section.
controls the
volume of
RR indicator— Shows you what round robin
just this Tighten— Control the duration and release of the (version of the same note) you are on. Click

 articulation shorts. The Auto Mode will automatically adjust the on an indicator to turn it off if you don’t want a
(tile). release time based on your playing. certain RR to play.

Open Editor— Click on the to reveal all the A.R.T. controls.

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Auto Rhythm Tool (ART)
Click on the triangle button next to the words “Rhythm Tool” will expand the full editor. The Auto Rhythm Tool allows you to
simply hold down a note or chord and hear those notes played back in a fast de nable rhythm with accents, swing, and many
other features. Playing rapid rhythmic String phrases can be very dif cult when trying to achieve a realistic sound. This is
where A.R.T. can step in and help you out.

To hear A.R.T., turn on the Rhythm tool by clicking on this

Power button — or assign it to a CC. The Sustain Pedal
(CC64) is assigned by default.

There are 4 basic modes to the Rhythm Tool:

1. A.R.T. Classic –– This behaves in a similar way to the original LASS A.R.T. script. Except that now you can draw
in your own notes and rests in musical form if desired. It is asynchronous insofar that if you play notes one-after-
the-other, they will trigger new phrases for those notes as opposed to being simply adding the note the phrase
already in progress.
2. A.R.T. New –– Here the notes you play are interpreted as part of the ongoing phrase and your notes are forced to
stay in sync with the phrase and it’s timeline position.
3. ARP –– Here A.R.T. will arpeggiate your chords using a variety of different presets.
4. Ostinato Tool –– Here A.R.T. will play customizable ostinato phrases based on the chord notes you are holding
(up to 6 notes). It’s like having a customized arpeggiator for each chord size.
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 Basic A.R.T. Controls
Velocity Table Menu –– This menu lets you choose how the table bars will play your rhythms velocity. You have 4 choices as
seen in the image below.

Note: The Add/Sub table steps add +/- 25 velocity steps to your played velocity (note: a
table value of -25 will be interpreted as no note). The “Scaled” modes scale your
played velocity 0>100% (unipolar) or 0 to 200% (bipolar).

Steps In Table –– This lets you choose the length of your phrase by selecting a number of steps for the table.

Rhythm Sync Menu –– This menu lets you choose the note value of the table’s steps (from 1/64 note to a full bar). In the
Note value (1/x) and Bar modes, there will be no musical notation under the table. The table will
play back at the note value you selected. The Score and Score Sync options provide extra
exibility:

• Score – in this mode A.R.T. will play back the table pattern based on the notated rhythm
beneath it. The Short type is chosen with the main slider.

• Score Sync — This works identically to Score mode, but will automatically change the
Shorts selection slider to the most appropriate duration, giving you a very realistic
performance especially if there are varying note durations in the phrase.

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 Notation Palette –– This is only available when the Rhythm option is set to Score or
Score Sync. When the Rhythm sync menu is set to Score or Score Sync, then you will
see notation below the rhythm table as well as the notation palette. You click on these
notes in the palette to assign them below each selected table cell. As you add notes the
next note will automatically be selected. If you Option-Click (Mac) Alt-Click (Win) on a
note, you can add a rest to the cell of the equivalent length to note on which you clicked.

Here you see the notes and rests below the table resulting in the
rhythm that A.R.T. will play back.

Playback Settings

Swing — Controls the amount of swing you want played back by

A.R.T. Center position if OFF. To the right is a positive swing (your
typical swing) to the left is a negative swing.

Duration — Controls the duration of the table cell’s note.

Repetitions — Controls how many times each table cell is repeated.

Humanize — How much rhythmic humanization you want applied to

the table pattern.

Sync Velocities — When ON, the rst user-played velocity is re-

used for all subsequent user-played notes until all keys are released.

Layer Played MIDI — When ON, the user’s MIDI notes will be played
immediately in addition to those notes being added to the current ART/
ARP/Ostinato pattern.

Latch and Latch-Add — When Latch is ON, A.R.T. behaves as if you were holding down the keyboard note
after you release a note. When Latch-Add is ON, you can add notes to the phrase as it’s playing and the notes
triggered notes stay held. Otherwise, each subsequent note/chord will remove the previously latched notes.

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Ostinato Tool –– The Ostinato tool plays back held notes with a custom-sequenced pattern that is separately de ned for
each chord size between 1 and 6 notes. This differs from the arpeggiator that uses preset
note sequencing algorithms to iterate over any notes held.

Record and Drag MIDI –– Once you are happy with your A.R.T. pattern (whether it be ART, ARP or Ostinato), you can record
the MIDI output your pattern and then drag the MIDI to your DAW’s MIDI track.

Record OFF— Click on this button to enable record.

Record ON— When on, Record is armed and will record starting with the rst note
you play. .

Drag MIDI— When you are nished recording, click on the Rec button
again and you will see this “Drag MIDI” button. Simply drag this MIDI
button onto your DAW’s MIDI track to add the A.R.T. MIDI to your
project.

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Pizzicato
Plucking the note with the nger as opposed to bowing. The user can control the duration with the “Tighten” knob.

Tighten— Control the duration and release of the pizzicato samples. The Auto Mode will
automatically adjust the release time based on your playing.

Volume – controls the volume of just this

articulation (tile).

Tremolo
Tremolo notes are looped sustained performances of each note played by rapidly moving the bow back-and-forth (recorded dynamics from
ppp to fff).

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Trills
There are 2 types of trills: whole-tone and half-tone. However, our smart trill algorithms will choose the correct intervals to play based on the
key you choose from the Key and Tonality dropdown menus (Half, Whole, Major, Minor).

Click here to see the Legato | Sustain Settings page.

Key menu – Choose the key you want to use when the trill Tonality Menu – This dropdown menu lets you
“tonality” menu is set to either major/minor. choose between Minor, Major, Half-tone, and
Whole-tone trills. When set to major/minor the
Key menu will dictate the basic key.

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Harmonics
We have recorded both ngered and natural harmonics at the dynamic that elicits the best sound (typically p).

Volume – controls the volume of just this

articulation (tile).

Custom Envelope

Here you can override the pre-programmed Attack, and Release settings of
your sustains. You must turn on the power button for each of the settings
you want to alter as well as the master “Custom” button. When turned off
the attack and release use the default Audiobro-programmed settings.
These settings are saved in the Articulation Presets.

• Curve –– Choose between convex, linear, and concave attack shapes.

• Attack Length –– Change the attack length (or duration if you prefer) to suit your own needs.
• Release Length –– Change the release length to suit your own needs. You will probably want to turn off RTs when using
this.

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Bartok Pizz. (Basses only)
For the basses, we had the players pull the string back and let it slam into the ngerboard thus creating the famed Bartok Pizz. sound.

Tighten— Control the duration and release of the shorts. The Auto Mode will automatically
adjust the release time based on your playing.

Volume – controls the volume of just this

articulation (tile).

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 Switcher

The Switcher is Audiobro’s new and advanced way of switching Articulations, Tiles, A.R.T, presets, Tonalities, and Ensemble
presets in a very customizable and intuitive fashion. There are 2 views for the Switcher: the Basic View, and the Advanced
Editor.

Switcher (basic)
There are 4 Switcher banks that can be assigned to switch either Articulation presets, Ensemble presets, A.R.T. presets, Tile Presets, or
Tonality presets. Each Preset can be controlled by a MIDI note (Key Switching) or Continuous Controller (CC switching). Furthermore,
you can overlap Switching Banks switching assignments so that you can switch (say) an Articulation preset and an Ensemble preset all
with 1 key… or 1 CC. First, let’s rst take a look the basic view:

Switcher type — this shows you what type of preset the Switcher will MIDI Value— this shows you the type of MIDI event and its current
switch. This is chosen in the Advanced Switcher editor. assignment. For example, here the MIDI key C0 was assigned to
the “Legato" preset.

Switcher bank On/Off button. When off,

this Switcher bank has no affect.

Preset Name — this shows you the current preset’s name. These Status Lights— these little lights show you what Switch you are
presets are saved in their respective pages (ie. Articulation, Mixer, on. When lit, you are on that Switch. When outlined, you have
A.R.T., Ensemble). You can easily choose a preset from the menu assigned a preset to that switch. When dark, nothing is assigned to
here. that switch.

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Switcher Editor (advanced)
This is accessed using the cog icon next to the word “SWITCHER”.


Switcher bank On/Off button. When Switcher type — With this menu you can assign whether a Switcher
off, this Switcher bank has no affect. Bank controls presets related to the Articulation, Tile, Tonality, the
Ensemble, the A.R.T. preset, or the Mixer preset.

Switch Using — This menu allows you to choose between MIDI note
keys, MIDI CCs, or Velocity/CC Stacks. Stacks pile all the possible
presets on the velocity values of a given note of MIDI CC.

Switch If Values — Based on your “Switch If” choice,

you will have different options to create a logical
algorithm.

Switch If: — This lets you choose additional

criteria to be used when switching. When
additional conditions are present the
Switcher evaluates them to see if
they are true before switching.

Status Lights — These little Preset Name — this shows you the current preset’s name. These
lights show you what Switch presets are saved in their respective pages (ie. Articulation, Mixer, A.R.T,
you are on. When lit, you are Ensemble). In this example the preset menu is derived from the
on that Switch, when Articulation menu.
outlined, you have assigned
a preset to that switch, when
dark, nothing is assigned to
MIDI Value — what is shown here is predicated upon the “Switch Using”
that switch.
menu. If you have Key Down selected, it will show you a MIDI note. If you
have MIDI CC selected, then you will have a CC number.

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 Look Ahead
Look Ahead — Turns on/off the Look Ahead Feature

Look Ahead Readout — Displays the LookAhead delay

timing amount which should be negatively applied to the
track in your DAW.

What is Look Ahead?

When real musicians read music they naturally compensate for both timing of their instruments and the requirements of the
music they are playing. For example, if a player needs to slur a note from the last beat of a measure to the downbeat of the
next measure they will begin that note transition prior to the downbeat so that the new note destination lands in time.

Traditionally some note timings have posed a problem for virtual instruments because when sequencing a MIDI note on the
downbeat the virtual instrument does not begin that note until the downbeat - resulting in a feeling of lateness that has to be
manually compensated for.

The Look Ahead feature in LA Scoring Strings 3 solves this problem by allowing our Orchestral Engine to do what real
players do… look a little into the future and compensate. That allows you to keep your MIDI quantized and neat and let our
engine take care of the rest.

How to use Look Ahead

To use Look Ahead you really only need to do three things:

1. Turn on the Look Ahead Button at the bottom-left of the interface

2. Adjust the tracks in your DAW to negatively compensate for the Look Ahead time (440ms in the example above). This
process differs for each sequencer but can usually be found in the track inspector or similar. **
3. When you start playback in your DAW you’ll need to start in advance of any Look Ahead MIDI. In the example above
you’d need to start playback 440ms prior to the rst note to ensure the rst note is played back correctly.

** The Look Ahead timing is reported next to the button. In the example above (any by default) you’ll see 440ms
(milliseconds) when you turn Look Ahead on. So in your DAW you would set your track to -440ms.
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 ** If you are not using Auto Divisi or have changed the Auto Divisi Chord Timing this value will not be 440ms and you’ll need
to adjust to the number you see reported in the interface. For instance, if you turn Auto Divisi off the negative delay will be
-400ms.

Look Ahead Tips

Look Ahead only applies when the transport has started. When the transport is stopped you can play the instrument without
any delays applied.
You can easily try different legato transitions (leg/port/gliss) without changing your quantized/sequenced MIDI
Not just for legato and transitions! Look Ahead works wonders for intricate short note writing
Legato rules are still in effect. So that means when using Auto Divisi you should not overlap notes but leave a tiny space to
create legato. Conversely, when Auto Divisi is off you want to overlap your notes to create transitions.
You can automate the lookahead button on/off but it should not be done during a performance.
Auto Divisi does work with Look Ahead, but if you’re writing complex contrapuntal legato parts you may nd using separate
tracks without Auto Divisi to be more reliable.
Avoid using the “SLAM” feature with Look Ahead

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 Ensemble Page
The Ensemble page which holds the Stage and Ensemble sections is where all the magic begins. That is why it is the rst page button at the
bottom of the interface. It you want to understand LA Scoring Strings 3’ signal ow, it generally goes from the Ensemble/Stage settings →
Performance settings → Mixer/Sends settings.

The Ensemble page is where you can place the sections in space simulations, adjust their relative volume, and set the stereo width of each
section. It is also where you build ensembles, set the Auto Divisi attributes, and access the Humanization settings. 


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Stage
The Stage feature allows you emulate many different stages and locations by taking the divisi sections and arranging them on
a virtual stage. Based on the Stage Type that you choose, you can have the String sound like it is located at the back of a
cathedral, up-close-and-personal on a scoring stage, or anywhere in between. The Stage does all the work behind the
scenes, taking into account proximity, reverb, right-left placement (stage panning), microphone/ambience mix, and other
things to make each divisi section sound beautifully inspiring and realistic.

It is as simple as grabbing the rectangular divisi sections and moving them where you want on the virtual stage. You can also
move them all together using the circular Mover tool.

The Mover Tool - this handy

“joy stick” lets you pan all the
ensembles at once, keeping
their relative position. A real
time-saver! Once you drag the
ensemble rectangles to where
you want them, then you can
move all of them together with
this Mover Tool.

The Mover Tool also allows you

to do the same thing when the
Stage is off. In this case, it will
only move the left-right
positioning and not the up-down
positioning.

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Depth Control
This control turns ON/OFF the Stage feature. When ON, the Stage emulates the depth of a physical
space based on what you choose as your Stage Type and Stage Preset. When OFF, the ensembles
disappear from the stage and there will be no ambiance added to the sound. When Depth Control is
OFF, you use the Positions panner to adjust the panning of the different divisi sections.

Below are 2 different pictures. The rst shows what the interface looks like when the Depth Control feature is ON, the second
shows what it looks like when OFF.

Stage Control ON Stage Control OFF

Notice the Divisi sections are gone from the stage on the second picture. However, the position control for each divisi in the
lower portion of the screen remains the same. This can be handy when 2 divisi parts are exactly on top of each other on the
stage and you want to move the one underneath. This can be achieved with the Position slider:

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 Stage Type and Stage Preset

This is where you choose the “sound” of the stage you want. There are 6 different stage types to choose from:

• Scoring
• Halls
• Churches
• Cathedrals
• Small
• Effects
• Dry Simulations – This allows you to use the stage without adding reverb from the stage… great for using the stage panner.

Within those sections and contained under the Stage Preset menu, there are a combine 52 different states to choose from —
the likes of: Basilique Cathedral, Film Stage, Lucid Dream, Adagio, and 48 others.

Stage Editor

When you click on the chevron to the left of the Stage Type
caption, you will see the Stage Editor (left).

Room Size — Reduces or increases the size of the

currently loaded room ambience

Room Tone — Darkens or brightens the tonal quality of the

currently loaded stage preset. Hint: with low String
especially a brighter room can help remove some “mud”
from the mix.

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 Mic Depth In uence — These knobs control the amount of in uence the stage depth simulation has over the individual
mic mixes. There are a few ways this can be used to your advantage.

First, it allows a quick mixing of the naturally recorded mics and the stage simulation. One example would be when you
like the sound of a preset but would prefer a little more of the natural sound than we’ve set up.

Second, by having discrete control over each mic’s simulation you can more carefully craft a layered mix that responds to
3D stage positioning. For instance, if using a Close sound, it might be quite natural to move that sound in 3D space with a
high level of simulation. Conversely, a Far mic recording already has considerable ambience and spacial ambiguity and
you may want to do less space simulation. The discrete controls allows you to do this with ease.

Divisi Section
This is where you can purge and load sections to help with RAM savings. For example, if you are
working on a project and you know that you won’t be needing more than 2 horns, then you can
purge the rest to save on RAM usage.

To Purge a section, simply click on the button to the left of the name.

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 Volume (divisi section)
Here, you can control the volumes of each section independently. This behaves differently than
the Mixer channel volume because the Mixer channel affects the volume of a particular
microphone mix, whereas this controls the volume of the actual divisi section (regardless of mic
mix).

Width
Here, you can control the stereo width of each divisi section. Great care was taken in the
recording and mixing process to maintain phase coherence when changing the width and
panning of the recordings.

Position
The Position control behaves like a traditional stereo panner but also syncs with the stage panning when
depth is turned on.

If you nd yourself in a situation where you have placed one or more divisi sections on top of each
other in the Stage section, you can use these Position slider to navigate the “hidden” divisi sections. 


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Ensemble Section
The Ensemble Section allows you to control how the 3 divisi sections interact and whether
they will be heard. This is a very powerful section that allows balanced divisi voice
weighting when playing chords, lines and multiple note phrases. Below the Ensemble
builder are the Auto Divisi and Humanization controls (as seen later).

Ensemble Menu
At the top right you will see the Ensemble Menu. Here you can load or store the entire
Ensemble section’s settings.

Ensemble Builder
This is where you set up what ensembles you want to hear, and how they are played back.
When Auto is ON, the Solo through Quartet options are automatically updated when you load or purge different players
(divisis). So if you have only Horn 1 loaded (and the others purged), then “Solo” will automatically be chosen. We have pre-
programmed “smart” settings for you so all you need to do is click Solo, Duet, Trio or Quartet to get the desired behavior
without having to purge any divisi sections..

Custom — This button will activate when you have adjusted settings from their defaults.

Ensemble Builder Editor

When you click on the cog ( ), you will be presented with the following options (image at
left):

Divisi Sections — choose the number of sections you want to play in your ensemble.
Make sure you haven’t purged any you want to use!

Divisi Assignment Menus — You can assign any divisi section in the instrument to the
section slots. This determines the section order for chords. If you wanted Horn 3 to be the
lead player you would assign Horn 3 in the top slot. Note that you can assign sections to
more than one slot as well, though this is not normally needed.

Transposition menu — (seen here with the word “loco” on it) is where you can transpose a section by up to 2 octaves (up or
down) from where it is being played. The term “loco” means that it is to be heard at its originally intended pitch (non-
transposed). “loco” is the default setting.

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 Auto Divisi
Based on the setting of the Ensemble Builder (discussed in the previous section), this
section will let you set up how the Ensemble will interpret the chords you play.

Auto Divisi — This is a simple On/Off switch for the Auto Divisi feature.

Slow - Balanced - Fast — These are Audiobro-created Auto Divisi presets which control
how the Auto Divisi engine responds to your playing of chords:

In Slow mode the chord detection time will be larger allowing you to be somewhat loose
in your playing of chords.

For most user, Balanced mode should be ideal - offering a nice balance between response and chord-looseness.

If you are a “pianist/keyboardist and your playing is quite nimble, perhaps Fast may be right for you.

Tutti - Per Voice - Custom — This second level of preset changes the way your section responds to chords when the number of
notes is smaller than the section size.

Tutti –– This make our Auto Divisi engine playback all divisi sections regardless of the number of incoming notes. For
example, if you are playing a single note, all divisi sections will play that note. If you are playing a 4 note chord in a 4 part
divisi setting, then you will have 1 divisi player each note.

Per Voice –– In contrast to the “Tutti” setting, this setting will play only one divisi per voice. So if you play 1 note, only the rst
divisi will play. If you then add another note to your rst note, now a second divisi will sound… and so-on.

Custom –– This button will light up when you have adjusted advanced settings and have changed from one of our defaults.

(continued) 


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Auto Divisi Editor
Although we have created presets for you (as described on the previous pages), you may also set up your own divisi “rules” in
this editor.

ON/OFF –– This is the ON/OFF button for this feature and can be assigned to a CC.

x number of notes — you can change the numbers into these two menus to dictate
that when you play “x” number of notes that a certain number of divisi sections will
play. We have already set this up for you but you can alter these settings if you wish.

Per note –– this area lets you choose which divisi gets assigned to which voice in a
chord (up to 8 notes in a chord). In this example. Divis A-D play all play on a 1 note
chord.

Navigator ––This forward arrow (and the other back arrow) will navigate you to the
different “chord with x notes” settings.

ReVoice Upon Key Release — This tells your Auto Divisi algorithm to re-analyze and
re-voice the chord when a note is released. This is set to ON by default.

Chord Window — this allows you to set the “window” in which our Auto Divisi algorithm
will interpret notes as part of a chord. When played within 30ms (in this example), those
notes will be considered a “chord” and therefore will not try to play a legato transition.
Notes played later than 30ms will be interpreted as part of the next “chord” and will
potentially trigger legato transitions.

Release Window — The release window time is the amount of note-extension added to your playing when Auto Divisi is on.
New notes played within the window will be transitioned to. So, in other words, if you play a note, release it, and then play a
second note within the 50 ms window, the second note will be played back as a legato note.

Note: Please look closely when you going through the different settings with the Navigator. At rst gland it may seem
that nothing is happening, but the numbers are subtly changing values. 


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 Humanization
This feature allows you to add a little more of the “human element” into the playback of
the sounds. Humans do not play back in time as accurately as computers do. Some
players play a little late (behind the beat) or do not play entirely in sync with the music.
This section allows you to control how much each section will play behind the beat
(Delay) and how much randomization will be heard in their timing.

Humanization ON/OFF –– This is the ON/OFF button for this feature and can be assigned to a CC by right clicking on it.

Small - Medium - Large –– We have created 3 different humanization presets for you. Each one with increasing amounts of
delay and randomization as well as tuning variance.

Custom –– This buttons lights up when you’ve adjusted settings beyond our stock presets.

(continued)


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Humanization Editor

ON/OFF –– This is the ON/OFF button for this feature and can be assigned to a CC.

Base –– This sets the base amount of timing delay (ms) per divisi.

Random –– Add randomization of timing per divisi.

Intonation ON/OFF –– Dictates where a divisi will have intonation humanization or

note

Base Intonation –– Sets the base amount of detuning (cents)

Flat Rand –– This slider dictates the amount of randomization tuning below ( at) the
base detuning.

Sharp Rand –– This slider dictates the amount of randomization tuning above
(sharp) the base detuning.

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 Mixer
The LA Scoring Strings 3 mixer is unique in several ways. It allows:

• 100% real-time recallable presets via Key Switching or CC Switching.

• All Insert parameters can be modulated by 1 of 4 different user-de nable modulators (lots of cool FX).
• Chopping of all channel for hypnotic rhythms and textures.
• Purging of microphones to save RAM.



Mixer Menu — use this menu to

recall presets of all the channels
with a single click.

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Mixer Channel
The Mixer channel is organized by microphone mix (Close, Stage, Far, Mix).


Chopper — When ON (orange when on) the

Chopper will “chop up” the sound based on the Cog — Use the cog to open up the editor of the
time unit of your choice (ms or musical note associated effect.
values).

Color Preset — This slot is reserved for Timbral Kontakt Output — Use this menu route the
Color effects that we produced to make LASS mixer channels to the different Kontakt outputs.
sound like famous recordings. This will only show the Kontakt outputs available
when you loaded up Kontakt. If you make
Sordino Color — This slot is reserved for Timbral changes to Kontakt’s output preferences, the
colors that we produced for sordino articulations. mixer will only show these changes after you
either restart the engine using the “ ! ” button at
the top of the Kontakt interface or after reloading
Empty Insert Slot — When an insert slot is
the patch.
empty, there is no name attached to it.

Color Reverb — Turn on/off the timbral reverb

that accompanies the Timbral Color preset Pan Slider — This will pan the mic channel to the
chosen above. right or left.

Group Button — When ON, this channel will be

grouped with other channels whose Group button
is also ON. This allows you to move the volume
across all channels identically.

Volume Sliders — This is the volume slider for

Mute Button — This button mutes the channel
the mic channel.
(stops audio from passing through it).

Solo Button — This button solos the channel by

muting all the other channels.

Channel On/Off — This button not only turns off the

channel, but also purges all the samples associated
with that channel.

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 Insert’s List
--- Dynamics ---- -- Low Pass Filters-- -- Band Pass Filters--
Compressor AR LP2 AR BP2
Opti Comp. AR LP4 AR BP4
Solid Comp. AR LP2-4 Daft Filter — Use this AR BP2-4
Limiter Daft LP lter with caution. A Ladder BP2
Transients Ladder LP1 higher resonance will Ladder BP4
Ladder LP2 cause self oscillation Legacy BP2
--- EQs ---- Ladder LP3 and can yield loud Legacy BP4
EQ1 Ladder LP4 pitches. You must SV BP1
EQ2 Ladder Filt tame the beast 😀 SV BP2
EQ3 Legacy LP1 SV BP4
Solid EQ Legacy LP2
Legacy LP4 -- Band Reject Filters--
--- Effects ---- Legacy LP6 Ladder Peak
Phaser Pro-53 LP Ladder BR
Chorus SV LP1 Legacy BR4
Flanger SV LP2 SV Notch 4
Reverb SV LP4
Delay -- Multi Filters--
Convolution -- Hi Pass Filters-- 3x2 Filt
AR HP2 SV Ser LP-HP
--- Routing ---- AR HP4 SV Par BP BP
Sends AR HP 2-4 Daft Filter — Use this SV Par LP-HP
Daft HP lter with caution. A
--- Channel Ops ---- Ladder HP1 higher resonance will -- Effect Filters--
Gainer Ladder HP2 cause self oscillation Formant 1
Panner Ladder HP3 and can yield loud Formant 2
Inverter Ladder HP4 pitches. You must Philter
Legacy HP1 Vowel A
tame the beast 😀
--- Distortion ---- Legacy HP2 Vowel B

Saturation Legacy HP4
Lo-Fi SV HP1
Distortion SV HP2
Skreamer SV HP4
Rotator
Twang
Cabinet
Tape Dist.
Jump Amp

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 Sends
There are 6 effect sends in addition to all the inserts on each mixer channel. This gives you enormous creative latitude,
mixing, and sound design exibility.

There are 7 effects to choose from that can be assigned to the Sends section. They are:

• Delay
• Chorus
• Flanger
• Phaser
• Convo (Convolution Reverb)
• Reverb
• Gainer (simply for gain staging)

You may arrange the Send Effects in any order you choose.

Important: In order to use the Sends, you must have a Sends insert in
the mixer channel you wish to route to the Sends (as seen at left).

You can change the Send effect to any of the effects in the dropdown
list. You are not obligated to use the order or setting with which the
library came.

Send — You must insert a Send into a mixer channel in order to route
the single to the Sends section.

Notice how the Delays and Reverb have signal sent to the sends. You
can see the available routing when you click on the cog of the Sends
insert.

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 Automation
This section allows you to assign a slider to modulate any Insert Parameter. That can be a very powerful and creative tool.
With a single slider you could control a myriad of effect parameters giving you tremendous real-time sound control.

Modulation Source — As you can see Lag and Lag time — Automation Slider — This is one of 4 color
from the selected menu option “ Sld: 1” This helps smooth out coded Automation Sliders that you can
(which means “Slider 1”), the slider to the the MIDI slider since assign to any Insert effect parameter. Note
right is assigned to the Frequency standard MIDI is only the blue line in the slider channel will re ect
parameter. You can assign “Sld: 1” or any 128 step. If you hear the Lag speed. If you have a really long Lag
of the 4 sliders to any insert parameter for zipper noise in your time, you’ll notice the blue horizontal line
creative real-time control. Also notice that slider moves, try trail behind the fader head.
the “Sld: 1” is color coded blue to match turning on the Lag and
the color of the Blue slider on the right. choose the lowest
This is to help you better see your setting that gets rid of
automation assignments. it.

Note that some real-time automated effect parameters will create zipper noise or other artifacts We have carefully
chose our presets to play nicely. However, if you want to create your own real-time modulation of parameters using
either the sliders or the modulators, please test whether the assigned parameter “plays nicely” with real-time control.

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 Modulation
The Modulation section allows you to assign almost any Insert effects parameter to 1 of 4 available modulators. These
modulators are 100% user de nable and save-able. They can have up to 64 steps and each step can be as short as a 1/32
note or as long as 4 bars!

There is also a Lag button that allows you to make the sharp nature of a step modulator as smooth as you’d like. The lag will
slow down the “jump” to a smooth transition based on how many milliseconds you want the transition to take.

On/Off — Turns the Modulator On /Off. Preset Menu — Save your presets here.

Rate — Choose how fast the modulator will Steps — Choose from 1 to 64 steps.
go from one step to the next.

Lag Time — Control how quickly or slowly

Lag On/Off — This turns On/Off the Lag and smoothly the steps will transition from
feature. one to the next. This is in milliseconds.

Caution - Use caution when

assigning any modulator to a
Daft Filter insert. Daft can self
oscillate with higher Resonance
values and create unexpected
loud pitched feedback. 



The Daft lter is a great
sounding beast of a lter, but
like all beasts, it must be
handled with care. 


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Signal Path

To the left you will notice a signal path diagram. Because of the
way that Kontakt is designed, there are some things we do not
have control over. Ideally we would have had the stage depth
feed directly in to the Mixer but because of routing limitations we
had to optimize the signal path as displayed here.

The main thing to understand here is that when you are using
the Stage Depth control on the Ensemble page (when it is
ON), the ambience/reverb will be sent directly to the outputs
while some of the non-reverberated signal that has been
processed with air absorption processing will be fed into
the Mixer.

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 Articulation Sets (Logic)
What are Articulation Sets?
Articulation Sets offer Logic X users a way to integrate their software
instrument’s articulation and parameter switching directly into their sequences
in a far more elegant way than simply having key switch notes or special
controller messages littering the MIDI editors. We now include a full
complement of Articulation Sets with LA Scoring Strings 3 to get you started
very quickly. We offer a number of variations to suit different work ows.

This allows for easier changing of articulations during and after recording in
your parts without the ugly extra notes appearing in your piano roll and score
editors. But taken to their full potential, these integrations also allow you to
control the most critical performance features to get a great and expressive
performance without the need for memorizing random CCs and KeySwitch
notes.

A few advantages of using Articulation Sets or Expression Maps:

* Set up live articulation switching directly in Logic/Cubase using a variety of methods.

* Keep keyswitch notes and/or CCs out of your MIDI regions for easier reading and exporting of piano rolls and scores
* Easily gain access to critical LA Scoring Strings 3 settings without any deep editing of random CCs required
* Unify your preferred articulation switching methods across libraries

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Installation
1. Find the “Articulation Sets” folder inside your /LASS Full
Library/DAW Integrations/Logic Articulation Sets/ folder.

2. Copy the “LA Scoring Strings” folder into your user account’s /
Music/Audio Music Apps/Articulation Settings/ folder

Articulation Set Types

There are a number of Articulation Sets to choose from,
but they all work basically the same way. The main
differences between most of the variations are the key
switch ranges that are pre-set. But you can you any
articulation set with any LASS 3 instrument.

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 Loading Articulation Sets
1. Open Logic and add Kontakt as a software instrument

2. Load a LA Scoring Strings 3 instrument. In this example we’ll use

Violins

3. Load the “DAW Integration” Snapshot. The regular version makes all
articulations available.

4. Now nd the “Articulation Set” section of Logic’s track inspector

and click to bring up the menu.

5. Choose the Articulation Set you wish to use. If you do not see
the LA Scoring Strings 3 Articulation Sets folder in the menu go
back to the “Installation” section on the previous page.

6. That’s it. Articulation programming will now be available in your

MIDI editors.

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 Expression Maps (Cubase)

What are Expression Maps?

Expression Maps offer Cubase and Nuendo users a way to integrate their software instrument’s articulation and parameter switching directly
into their sequences in a far more elegant way than simply having key switch notes or special controller messages littering the MIDI editors.
We now include a full complement of Expression Maps with LA Scoring Strings 3 to get you started very quickly. We offer a number of
variations to suit different work ows.

Expression Map Types

There are a number of Expression Maps to choose from, but they all work
basically the same way.

The main differences between most of the variations are the key switch
ranges that are pre-set.

As a basic guide, choose a map with the starting key range that makes
sense for the instrument you are loading.

Loading Expression Maps

1. Open Cubase/Nuendo and add Kontakt as a software instrument

2. Load a LA Scoring Strings 3 instrument.

3. Load the “DAW Integration” Snapshot. The regular version makes all
articulations available.

4. Now nd the “Expression Map” section of Cubase’s track inspector

and open the Expression Map Setup.

5. Load the Expression Map(s) you’d like to use by clicking “Load” at the
bottom-left” of the window. All the Expression Maps can be found in your /LASS Full 3 Library/DAW Integrations/Cubase Expression
Maps/ folder.
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6. Next, assign the loaded Expression map to the track in the Inspector.

7. That’s it. Expression Map programming will now be available in your MIDI editors.

Pairing Down The Articulation List

Due to the way that Cubase/Nuendo Visualizes the articulations in Expression Maps,
having a very long list can pose problems when using Direction-style maps and using
the controller lane to change articulations. It can therefore be advantageous to pair down the list to what you actually want to use. To do so,
simply remove any of the articulations you don’t want to use.

Otherwise you can stick with the “Attribute” style Expression Maps and bypass the controller lane.

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 Sound Variations (Studio One)

What are Sound Variations?

Sound Variations offer Studio One 5.2+ users a way to integrate their software instrument’s articulation and parameter switching directly into
their sequences in a far more elegant way than simply having key switch notes or special controller messages littering the MIDI editors. We
now include a full complement of Sound Variations with LA Scoring Strings 3 to get you started very quickly. We offer a number of variations
to suit different work ows.

Sound Variation Types

There are a number of Sound Variations to choose from, but they all work basically
the same way.

There are Sound Variations included for both the main library and the Intuition
Strings instruments. The main differences between most of the variations are the
key switch ranges that are set. As a basic guide, choose a map with the starting key
range that makes sense for the instrument you are loading.

Installation
1. Find the “Sound Variations” folder inside your /LASS Full 3 Library/DAW
Integrations/Studio One Sound Variations/ folder.

2. Copy the “LA Scoring Strings 3” folder into your user account’s /
Documents/Studio One/Presets/User Presets/Key Switches/ folder

3. Open Studio One 5.2+ and reindex your presets using the button:

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Loading Sound Variations
1. Open Studio One 5.2 and add Kontakt as a software instrument

2. Load a LA Scoring Strings 3 instrument.

3. Load the “DAW Integration” Snapshot. The regular version makes all
articulations available.

4. Open the Sound Variation Editor from the menu and load one of our preset Sound Variations.

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 CPU and RAM Considerations

CPU Considerations
Although Audiobro takes the utmost care in trying to create ef cient and lean patches, there may be times when one will want to further
maximize their CPU ef ciency. Here are some tips to help you get the most out of your computer’s CPU.

High CPU in general — If you nd that a patch or a few patches are on the edge of overloading your system’s CPU, try creating another
instance (or 2) of Kontakt and distributing the patches onto the different instances of Kontakt. The idea behind this approach is to use
multi-threading to more evenly distribute the CPU load amongst your CPU cores. Cramming as any patches as you can into an instance
of Kontakt is not a good approach when the patches require a decent amount of CPU.

Release Triggers — If you are using reverb, you may not need RTs (Release Triggers). Go into the Phrase Editor and turn OFF the Rel.
Trigger control. This will reduce your voice count upon release of notes (when not performing a legato transition).


Turning off Auto Divisi — One great side-bene t fro Audiobro’s Auto Divisi is that when you play chords, the notes are equally
distributed around the divisi sections… saving you voices. For example, if you turn off Auto Divisi and play 4 note chord with a 4 part
divisi patch, you will trigger at least 16 (4 x 4) voices and probably a lot more because of dynamic layering.Whereas with Auto Divisi ON,
you would only trigger 4 voices. 


Modulators and Lag — When using Modulator Tables on the Mixing page, having a high lag setting (especially on multiple active
modulation tables) can raise the CPU substantially. Consider reducing the Lag to the minimum about needed. 


Effects — When no signal (as in zero amount) is going through an effect, then that effect is taking up zero CPU. However, if just a tiny
little sound is running though an effect, it will make that effect use it’s resources just as much as if there were a lot of signal running
through that effect. Therefore, if you are running signal through effects that you can barely hear or is not needed, either turn those effects
OFF or reduce the amount of signal to those effects to zero.

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RAM Considerations
LA Scoring Strings 3 uses a smart RAM algorithm to determine what you have in your patch and load only the samples that are necessary.
Generally you don’t have to think about this. Just set up your String the way you want and we take care of the management. But this works
in a few ways that may be worth exploring if you are looking to maximize your performance:

What you are looking at — The samples for the active articulation (what you are looking at on the performance page) will of course
utilize RAM.

Articulation Key Switches — Any articulations set up on a KeySwitch bank will also require additional RAM. So if you remove the
“Sustains” from the key-switch they will also be removed from RAM. This makes it simple to keep just the articulations you need loaded
and purge the rest.

Divisi Sections — Each divisi section can be manually purged or loaded decreasing or increasing RAM.

Mic/Pad Mixes — Each mix/pad-mix can be loaded/purged decreasing or increasing RAM.

We include a very light empty startup patch that is ideal to use if you want to program your own settings without the extra RAM
usage required by our other fully-loaded patches.

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 Speci cations

System Requirements
Mac OS X 10.11, Mac OS 10.12 or 10.13 or 10.14 or 10.15, 11, i5

Windows 7, Windows 8, or Windows 10 (latest Service Pack), Intel Core i5 or equivalent CPU

System must be capable of running Kontakt 6.1.1 or later.

An internet connection and a graphics card that supports OpenGL 2.1 or higher are required to download and activate this
product. Once installed and activated, the product can be used of ine.

4 GB RAM (6 GB recommended for large KONTAKT Instruments)

Supported Interfaces
 Mac OS X (64-bit only): Stand-alone, VST, AU, AAX

 Windows (32/64-bit): Stand-alone, VST, AAX

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 Special Thanks
The creation of LA Scoring Strings 3 was a labor of love, dedication and many, many hours of hard work. I’d like to thank all those who
participated in helping LA Scoring Strings 3 get made.

A special thanks to Sebastian Katz for the many ways you helped improve this beautiful String library (and other libraries with me). Thanks to
your wife and kids for their patience in all of this.

And last but certainly not least… my wife and kids. A special thanks to my wife, Jennifer, for her help in the business, all that she does on a
daily basis to help me stay on task, and for her patience in putting up with my crazy scheduling of sample libraries and all that it involves. A
special thanks to my kids for keeping me humble and grounded. Love you!

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