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沙发 琴韵晓波说：
The LA Scoring
Strings
Legato Sordino 2
User Guide
Copyright
?
The LA Scoring Strings sample library described herein is supplied under a formal
license agreement that you enter into when using LA Scoring Strings. Please refer to
the LASS License Agreement PDF that came with your copy of LASS.
当使用本手册描述的拉丝弦乐样本库时您已同意（一个正式的）使用许可协议。请参阅随附于拉
丝弦乐，LASS，软件中的拉丝弦乐许可协议，‘LASS License Agreement’， PDF 文档。
The data contained in this user’s guide only serves for information purposes and may
be changed without prior announcement. The contents, images and information in the
user’s guide does not constitute a legal obligation of Audiobro. Audiobro is not
responsible for any eventual faulty or inaccurate information contained in the
user’s guide. The user’s guide and any parts thereof may not be reproduced or
hosted on a website for commercial or any other use without the prior and explicit
written permission of Audiobro. All trademarks are acknowledged as the property of
their respective owners.
本手册中的资料只是提供信息，所以若有修改恕不另行通知。Audiobro（出版者）对手册中的内
容，图像和信息没有法定义务。Audiobro（出版者）对用户手册中任何错误的或不准确的信息不
负责。没有Audiobro（出版者）的事先明确书面许可，不得复制用户手册，全部或部分，或发表
在商业，或任何其他用途，的网站。所有商标均是其所有者的财产。
The entire LA Scoring Strings sample library is based on “real player” performances
and the utmost care was taken in preserving the human feel of these performances. It
is these human “elements” (natural variances and imperfections in performance and
sound) that create the realistic sound you hear when using LA Scoring Strings. Any
imperfections in sound and performance are to be considered “by design” and are
subject to change only at audiobro’s discretion.
整个拉丝弦乐样本库是基于“真正的演奏家”的演出，并悉心保存这些表演中人的感觉。这些人
的“元素”（性能和声音中天然的差异和缺陷）使你在使用拉丝弦乐时产生逼真的声音。任何声
音和表演的瑕疵都应视?出于 “设计”，只有Audiobro（出版者）可以改变这些设计。
? 2009-2012 audiobro
?
Table of Contents 目录
Welcome to LA Scoring Strings 欢迎 4
System Specifications 系统规格 6
What’s New in LASS LS 2? ‘拉丝弦乐 2 ’有那些新的地方？ 7
Instruments and Sections 乐器及乐部 9
Continuous Controllers CC连续控制器 11
LASS LS Patches Overview 拉丝弦乐 声音程式总揽 13
The Kontakt Libraries Browser KONTAKT乐库浏览器 16
LASS Real Legato Patches 拉丝弦乐 真连奏声音程式 19
LASS Real Legato Script拉丝弦乐真连奏性能程式 24
The Performance Page 性能 27
Legato Tweak Page — be careful on this page!! 连奏调整页面 - 小心进行!！ 32
EQ Page 均频 页面 35
Auto Arranger 自动编曲 37
The Sustain Pedal 延音踏板 37
Auto Arranger — Basic Edit 自动编曲 – 基本篇 38
Auto Arranger — Expert Edit 自动编曲 – 专家篇 40
Set Up Sub-Rules 设立子规则 42
Delay and Humanization Script 延迟及人性化 44
CC Table Script CC表功能程式 47
Tuning Tools 调音工具 50
Micro Tuning Table 微调表 54
LASS Impulse Responses (IRs) 拉丝弦乐脉冲响应（IRs） 55
LASS LS 2 Multis Examples 拉丝弦乐 声音程式合成范例 57
Support 产品帮助 59
Special Thanks 特别感谢 60
?
Welcome to LA Scoring Strings 欢迎
Thank you for choosing LA Scoring Strings (LASS). I hope you enjoy using this string library as much as I
do!! I have always been passionate about strings, even before I ever scored my first orchestral project.
As a kid, I remember listening to Vivaldi’s Four Seasons (Winter in particular) and getting goose bumps.
It is amazing to me how a real orchestral string section can elicit such a wide range of emotions and
touch our soul. From horror to euphoria, and everything in between, strings seem to be able to express
any emotion.
感谢您选择拉丝 弦乐，LASS，。我希望你和我一样喜欢使用这个弦乐库！即使在我编我的第一个
交响乐之前，我就一直热衷于弦乐。我记得小时候听维瓦尔第，Vivaldi, 的四季(交响乐)，（尤其
是‘冬季’），常?得非常兴奋（兴奋到起鸡皮疙瘩）。一个管弦乐团的弦乐部能够引起如此广
泛的情感，并触及我们的灵魂，令我惊奇。从恐惧到兴奋，及两者之间所有的情绪，弦乐似乎都
能够表达。
I think most composers would agree that there is nothing like a real string section... and I don’t think
real strings will ever be replaced. And even though we use sample libraries to do our MIDI mock-ups and
check our work, as composers and arrangers, I’d bet that all of you, if given the budget and time, would
hire a real string section over using samples in a heartbeat. I know I would. But with many of today’s
scoring budgets and schedules, sometimes it’s just impossible to have the “real thing”. It is my hope that
in these situations you’ll find LASS to be the best alternative to live players.
我想大多数的作曲家会同意，没有什么替代品比得过一个真正的弦乐部...我不认为真正的弦乐部
可以被取代。虽然我们可以用弦乐库，做MIDI模型，来检验我们的构想，作为作曲家和编曲，我
敢打赌，如果有预算和时间，大家会马上雇用一个真正的弦乐部。我知道我会的。但当今许多编
曲预算和时间表，使“动真格”成?不可能。我希望，在这种情况下，你会发现拉丝 弦乐是真正
的弦乐部的最佳替代品。
Why did I create this library? 我?什?创建这个乐库呢？
One of the principal reasons I created this library was because I was tired of not being able to write
expressive and realistic string melodies. Intuitive and convincing legato patches were sorely missing
from my computers’ orchestral template. I guess you could say that the principal reason I created LASS
was out of frustration.
我创造这个乐库的主要原因之一是因为我不想再忍受不能够写出有表现力，真实的弦乐旋律。我
的电脑中原有的管弦乐模式竟没有自然，有说服力的连奏的声音程式（patch）。我想你可以说，
我创建了拉丝 弦乐，LASS，的主要原因是出于（强烈的）挫折感。
So, as I set out to figure out how I was going to approach this library, it became obvious to me that I
should focus on smaller divisi ensembles that could be layered to form full sections. This would enable
divisi, unison and tutti writing, and all sorts of options otherwise unavailable to me. Also, by layering,
you could ensure more randomness in the different divisis resulting in a much more natural sounding
performance.
所以，当我开始计划如何创建这个乐库时，我深切地觉得我应该专注于分部，divisi，的程式，这
些分部可以层加 ，layer，形成完整的乐部。这样子我就能编分部，divisi，齐声，unison， 合奏，
tutti，和各种变化的乐曲。另外，通过层加可以添加更随机的变异于不同分部中，导致更自然的
声音。
And now, after a long time and tons of editing and programming, we’re releasing this library. However,
these patches will evolve and I’d like to think of LASS as a Living Library. We will be posting tweaked
patches on the www.audiobro.com LASS forum as we add new features to these patches.
经过了漫长的时间和大量的?容及程式的编辑，我们现在可以发布这个乐库了。但是，我认为拉
丝 弦乐，LASS，是一个有生命的乐库，这些声音程式将会持续演进。这些声音程式有新增的功能
时，我们会将这些改过的声音程式 公布在www.audiobro.com LASS论坛上，www.audiobro.com
LASS forum。
Enjoy...and have fun!!
加油... ...！
Andrew Keresztes
Composer / Developer of LA Scoring Strings
拉丝 弦乐 创建者
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System Specifications 系统规格
Supported Interfaces: 支援的界面软件
Stand-alone, VST?, Audio Units?, RTAS?, ASIO?, Core Audio?, DirectSound?, WASAPI?
‘Stand-alone’是独立不需界面。其余都是软件名。
Minimum System Requirements: 最低系统要求 （请自行比较）
Windows
? Windows XP (latest Service Pack, 32 Bit), Windows Vista/Windows 7 (latest Service Pack, 32/64
Bit), Intel Pentium 4 2.4 GHz or Intel Core Duo or AMD Athlon 64, 2 GB RAM
Mac
? Mac OS X 10.6 or 10.7(latest update), Intel Core Duo, 2 GB RAM
?
What’s New in LASS LS 2? ‘拉丝弦乐 2 ’有
那些新的地方？
LA Scoring LS 2.0 (LASS LS 2) brings you a whole new set of tools providing a new level of expressiveness,
realism, real- time playability and programability to sampled strings.
拉丝 LS 2.0（拉丝弦乐2），LA Scoring LS 2.0 (LASS LS 2)，为您带来一套全新的工具，提供了表现
力，逼真，可实时演奏，可编程，使采样式的弦乐演奏达到一个新的水平。
Aside from incorporating our new Stage & Color* feature into all LASS LS 2 patches (providing an easy
way for LASS Full 2 owners to have LASS LS 2 sound like famous orchestral recordings and film scores),
LASS LS 2.0 has updated all the performance scripts including the Auto Arranger, CC Tables, Real Legato,
and the Tuning/Micro Tuning. These features have also been 100% integrated with LASS Full 2.0’s ARC
(Audiobro Remote Control)*.
除了添加了我们的新的‘舞台及音色*’功能到所有的拉丝弦乐声音程式外，拉丝弦乐2.0更新了
所有的性能程式包括自动编曲 the Auto Arranger，CC表（CC 是连续控制器Continuous Controller），
真正的连奏 Real Legato，及调音/微调the Tuning/Micro Tuning。‘舞台及音色*’提供了一种简单
的方法使LASS Full 2 的 使用者能利用拉丝弦乐制作听起来像著名的管弦乐录音或电影配乐的成品。
其他提到的功能已完全融合入LASS Full 2.0的遥控器，ARC（Audiobro Remote Control）*。
* In order to use the ARC’s features (which includes Stage and Color, Key Switcher, etc) you must be a
LASS Full 2.1 owner. You can learn more about the ARC here: http://audiobro.com/arc-pages/
如要使用ARC，Audiobro Remote Control，的功能（包括舞台和音色 Stage and Color，曲调切换
Key Switcher等），你必须是LASS Full 2.1的所有者。更多关于ARC的讯息储存在：
http://audiobro.com/arc-pages/
Below is a partial list of some of LASS LS 2.0’s new features (you can also read about LASS’s new A.R.C.
(Audiobro Remote Control) included when you own LASS Full 2.0).
以下是一些拉丝弦乐2.0的新功能（假如你拥有LASS Full 2.0你也可以阅读有关LASS新的ARC，
Audiobro遥控器，功能）。
? A new Micro Tuning tool and real-time performance of tuning
新的微调工具，及调音的实时性能（调音效果立即显现。）
? A CC Attenuation knob that allows one to ride CC attenuation in real-time or after-the-fact for
added dynamic control.
新的CC衰减旋钮，可以实时地或事后地产生衰减效果，增加对力度的控制。
? Improved Real Legato, Auto Arranger and CC table scripts.
较好的性能程式包括真实连奏，自动编曲和CC表。
? Stage & Color support – At the heart of Stage & Color is a collection of exclusive orchestral
sound profiles (colors) inspired by famous movie scores and recordings. Now, at the push of a button,
LASS LS can adopt the tonal characteristics of some of the most coveted scores and recordings. Support
for the new ARC (Audiobro Remote Control) master script that will allow for dramatically easier control
of all sections and divisis from a single window.
‘舞台及音色’ - ‘舞台及音色’最主要的部分是一套独特的管弦乐声‘型材’，profile，
（即所谓的‘颜色’），型材的灵感来自著名的电影音乐和录音。按一下按钮，拉丝弦乐可以采
用一些最令人垂涎的乐曲和录音的音调特性。若采用新的ARC（Audiobro遥控器）主性能程式，
可在一个视窗?更容易地控制所有乐部和分部。
? Support for Reverb and width controls of multiple patches from within the ARC
可用Audiobro遥控器，ARC，同时控制多个声音程式的混响和音宽。
? Support for CC Table control of multiple patches from within the ARC
可用Audiobro遥控器，ARC，同时控制多个声音程式的CC表上的功能。
? Support for Auto Arranger control of multiple patches from within the ARC
可用Audiobro遥控器，ARC，同时控制多个声音程式的自动编曲的功能。
? Support for the new Key Switching approach of multiple patches from within the ARC
可用Audiobro遥控器，ARC，同时控制多个声音程式的曲调切换。
? Many other new features and improvements
很多其他新性能及改进。
?
Instruments and Sections 乐器及乐部
VIOLINS I 小提琴 1
4 players divisi ensemble A A 分部 4 位乐师
4 players divisi ensemble B B 分部 4 位乐师
8 players divisi ensemble C C 分部 8 位乐师
16 players full section mix 乐部 共16 位乐师
CELLOS 中提琴
3 players divisi ensemble A A 分部 3 位乐师
3 players divisi ensemble B B 分部 3 位乐师
4 players divisi ensemble C C 分部 4 位乐师
10 players full section mix 乐部 共10 位乐师
VIOLINS II* 小提琴 2
4 players divisi ensemble A A 分部 4 位乐师
4 players divisi ensemble B B 分部 4 位乐师
8 players divisi ensemble C C 分部 8 位乐师
16 players full section mix 乐部 共16 位乐师
* Derived from Violins I, Violins II are panned to a 2nd violin’s orchestral perspective and
programmed to avoid phasing issues with the 1st violins.
小提琴2是从小提琴1衍生而来，根据管弦乐观点和编排，平移到第二小提琴的位置，再加以调
整以避免与第一小提琴产生相位的问题 。
BASSES 低音提琴
2 players divisi ensemble A A 分部 2 位乐师
2 players divisi ensemble B B 分部 2 位乐师
4 players divisi ensemble C C 分部 4 位乐师
8 players full section mix 乐部 共8 位乐师
VIOLAS 大提琴
3 players divisi ensemble A A 分部 3 位乐师
3 players divisi ensemble B B 分部 3 位乐师
6 players divisi ensemble C C 分部 6 位乐师
12 players full section mix 乐部 共12 位乐师
At the heart of LASS’s sound are Real Legato performance sample patches and a unique “layered
ensemble” approach. These ensembles were all recorded individually in a large film scoring studio.
Because they’re made up of different players (avoiding the dreaded “same player” sound), they combine
seamlessly to produce entirely cohesive small, medium, or large sections with the right divisi ratios.
拉丝弦乐的声音是基于一组叫做‘真实的连奏’，Real Legato，的样品声音程式，以独特的“层
加”的编排方式构成乐曲。这些样品声音程式都是在一个大的电影配乐的工作室里个别录制的。
?了避免“同一个乐师”的单调感觉，它们是由不同的乐师演奏，若以正确的分部比例加在一起，
它们可以天衣无缝地结合成完好的小型，中型，或大型的乐部。
The players are recorded in position on the scoring stage and mixed in the traditional orchestral seating
perspective, making it simple to get a magnificent string mix out of the box. Meanwhile we took the
utmost care to ensure that the instruments can be panned anywhere with virtually no phasing problems
should you need to do that.
声音程式录制时，乐师在录音场的位置，录制后的处理都是依据传统的管弦乐座位的考量，使用
者很容易可以直接得到一个很好的弦乐组合。假如你需要平移乐器，我们已采用了极为谨慎的措
施以确保乐器可以在任何地方进行平移，几乎没有相位问题。
And to make it easy to get just the right sound, all LASS patches and programming are consistent from
the divisi ensembles to the full mix. If a part sounds right using a single divisi ensemble, the same
sequence will sound right with the full ensemble — no MIDI reprogramming required.
?了容易地获得正确的声音，所有的拉丝弦乐声音程式和性能程式，从分部到整个乐部都是一致
的。如果分部听起来是正确的，同一序列在整个乐部也是正确的 - 无需用MIDI重新编程。
The result is unprecedented control over dynamics, performance and section size.
因此使用者有前所未有的对力度，性能及乐部大小的控制。?
Continuous Controllers CC连续控制器
These are all the MIDI continuous controllers (CC) used in LASS. A lot of planning went into programming
LASS so that you can just play the patches without being an octopus (to operate a bunch of CCs
simultaneously). Great care was taken to avoid multitudes of CC assignments while maximizing control.
以下是拉丝弦乐使用的MIDI连续控制器（CC）。编制拉丝弦乐时同时进行了很多规划使你可以
只操作声音程式而不用同时操作一堆CC。在提供最大程度的控制时，也十分注意减少CC的数目。
For the sake of clarity throughout this user’s guide:
为清晰起见，下列CC号及?明通用于本手册：
CC# CC号
Explanantion ?明
CC1
This controls the dynamic layers of the patch (ppp through fff) and also the volume
of those layers.
控制声音程式的力度层（从最弱到最强），以及那些层的音量。
CC3
This lets you ride the Tune Amount knob in the Tuning script. Great for subtle or
drastic tuning effects
调整‘调音’性能程式中的‘调音量’旋钮。细微或剧烈的调整效应都合适。
CC7
This controls the master volume of the patch.
控制声音程式的主音量。
CC11
This adds one more level of volume control for added flexibility.
增加了一层音量控制，以增加使用灵活度。
CC90
This turns On/Off the Tuning script.
开/关 ‘调音’性能程式。
CC110
This (default) allows you to choose the various A.M.G. (anti machine gun) modes in
real-time.
默认设置是，实时 ，real time，选择不同的AMG ，‘抗机枪’，模式。
CC111
This (default) allows you to turn on/off the legato modes in real-time.
默认设置是，实时 ，real time，开/关 连奏模式。
CC83
This controls the speed of the portamentos and glissandos in real-time on “Speed”
patches.
实时控制 “速度”声音程式中滑音和滑奏的速度。
CC64
This (Sustain Pedal) forces whatever you play to be played “legato”
延音踏板，以“连奏”演奏音符。
NOTE: You should not use the following continuous controllers when playing LASS patches because they
are being used by the scripts internally and will cause problems with the patches and their performance:
请注意：使用拉丝弦乐程序时，请不要使用下列连续控制器，因为他们已用于性能程式，再度使
用将会导致声音程序上的问题：
CC16 — DO NOT USE
CC16 勿用
CC19 — DO NOT USE
CC19 勿用
When replacing LASS’s default CCs with your own, please do not use any of the following CCs: 1, 7, 11,
16, 19, 64, 83, 90, 110, 111, 112. This is to avoid any CC conflicts. You are able to alter many of the
default CC assignments in LASS. However, if you use the defaults CCs, you won’t have to re-assign them
on every patch, saving you a lot of time and effort.
当替换拉丝弦乐的默认的CC时，请不要替换下列的任何CC：1，7，11，16，19，64，83，90，
110，111，112。这是为了避免CC冲突。在拉丝弦乐中你可以改变许多CC的默认的功能。但是，
如果使用（CC的）默认的功能，你就不必在每个声音程式上重新改变他们，可以节省 大量的时
间和精力。?
LASS LS Patches Overview 拉丝弦乐 声音程
式总揽
LASS LS brings a new look and functionality to LA Scoring Strings’ Legato patches. The patches have been
greatly optimized and re-coded to allow the end-user greater flexibility and ease of use. In addition to a
new skin and new features (covered in this manual), a new Sample Load/Purge mode has been added to
replace the many patches from LASS’s previous Legato patches.
拉丝弦乐 的 “连奏”声音程式有了全新的外观和功能。声音程式已被大量优化和重新编码，给使
用者更多的选择且容易使用。除了新的外观和新的功能（将在本手册中?明）外，还新添加了一
个样本加载/清洗模式，以取代拉丝弦乐原有的连奏声音程式。
Now a menu has been placed next to the “port” and “gliss” articulations that include the following
options:
在 “port”和“gliss”（滑音和滑奏衔接）旁边的选项表包括以下选项：
? Unloaded –– This unloads all the samples of the selected articulation
卸载 卸载选定衔接的所有样品
? DFD –– This puts all the samples of the selected articulation in Direct From Disk mode (most
memory efficient).
DFD 使选定衔接的所有样品直接从磁盘读出（记忆体效率最高）。
? Speed Lt –– This “Speed Lite” mode loads the samples into a quasi DFD mode and uses less
memory than “Speed”.
低速度，Speed Lt -- “速度精简版”模式以准DFD模式装载样品，比使用 “高速度”
模式 更省对记忆体的需求。
? Speed –– This is the most memory intensive version but allows for the most flexibility with
controlling the speed of the portamento and glissando transitions.
高速度，Speed -- 这是最需记忆体的版本，但在控制滑音和滑奏转换的速度上有最大的灵
活性。
With LASS LS patches, you can:
使用拉丝弦乐声音程式， 你可以执行下列事项：
? Play legato, portamento and glissando in real-time without Key Switching by simply playing
different velocities.
可简单地通过不同的速度实时演奏连奏，滑音和滑奏，而不需切换键，Key Switching。
? Load only the articulations you intend on using with LASS’s new Load/Purge capabilities.
使用拉丝弦乐新的加载/清洗功能可以只加载你打算用的衔接的程式。
? Use the Auto Arranger to play polyphonic legato and Auto Divisi passages in real-time.
使用自动编曲Auto Arranger 实时演奏和弦连奏及自动分部Auto Divisi 程式产生的分部旋律。
? Use the Dynamics Attenuator (CC Attenuator) to breathe new dynamics into your parts.
使用力度衰减器（CC衰减器）注入新的力度层到你的乐曲中。
? Automate any blue button you see above with CC automation.
使用CC自动化的功能可自动化控制上图中的任何蓝色的按钮。
? Tune the patch with the Tuning Table (see Tuning Table section in index).
使用调音表来调整声音程式（参见目录中的调音表，Tuning Table）。
With divisi ensemble patches you can:
使用分部声音程式divisi ensemble patch， 你可以执行下列事项：
? Use the Auto Arranger on each divisi ensemble patch to give you auto divisi capabilities.
使用自动编曲，Auto Arranger， 于每个分部声音程式，自动完成分部编排。
? Split up the divisi ensemble into divisi sections to maintain accurate player count on harmony
and chords.
将分部，divisi ensemble，分解成各个成分，divisi sections，以维持达到和谐与和弦需要的正确的
乐师人数。
? Perform each divisi ensemble separately to add more of a human performance.
每个分部个别演奏，加入更多真人演奏的特质。
? Tune each divisi ensemble separately to add a greater variety to the sound.
每个分部个别调整，加入更多声音的变化。
? EQ each divisi ensemble separately to have more creative options.
每个分部个别均频，EQ，增加更多创新的可能。
? Send different amounts of Reverb or FX to each divisi ensemble separately to add ambiance
control.
每个分部个别得到不同量的混响或FX效果，增添气氛的控制。
? Have small, medium or large ensemble sizes by choosing which divisi ensembles you want to use.
有大，中，小，不同大小的分部（divisi ensemble），可依照需要选取。
?
The Kontakt Libraries Browser KONTAKT乐库浏览器
All LASS patches and Multis can be accessed through the LA Scoring Strings Library browser (shown
above).
所有拉丝弦乐 声音程式，patch， 及声音程式合成， Multi，都可由拉丝 弦乐乐库浏览器（上图）
进入。
Simply click on the “Instruments” tab to open a folder hierarchy that reveals the different bit-depth
instruments and Multis (Multis are discussed in the LASS Multis section of this guide).
点击‘乐器’，“Instruments”，或声音程式合成 ， “Multis”，选项卡，即可打开文件夹，不
同的声音程式 及声音程式合成在不同的层次结构中。（关于声音程式合成，Multis，本手册的拉
丝弦乐声音程式合成，LASS Multis，章节有更深入的讨论）
After you click on the “Instruments” tab, the LASS library browser should look as follows:
点击‘乐器’，“Instruments”，选项卡， 拉丝弦乐 乐库浏览器应显示如下：
By double clicking on the various folders, you can navigate to the different instruments and patches. If
you want to return to a previous folder (or go up in the folder hierarchy), you can click on the “up”
arrow below the instruments tab.
通过双击不同的文件夹，您可以打开不同的乐器和声音程式。如果您想返回到上一个文件夹（或
文件夹层次结构的上一层），您可以点击‘乐器’选项卡下面的‘向上的箭头’。
Important things to know about LASS: 拉丝弦乐要点须知
There are a few things that many of the LASS patches share in common. A great deal of effort was spent
in making patches and conventions consistent. Important things to know about LASS:
很多心血花在使声音程式使用一致的惯例，有几个事项是通用于多数的拉丝弦乐声音程式的。表
列如下：
All patches
所有声音程式
? use CC11 to control volume in addition to CC7 used as a master
volume.
用CC7控制主音量，用CC11增加一层音量控制。
? are set to have CC7 at 127 = 0db in the options menu.
原始设定CC7 于 127 = 0db。
? have an EQ page and preset. The EQ preset is a good starting point
but please also try the patches without EQ. EQ is such a personal thing, and
depending on the job at hand, different EQ settings could be more
appropriate.
有一个均频，EQ，页面和预设。该页面的预设值是一个很好的起点，但
也须尝试以不用均频为起点。 均频的运用是非常主观的事情，且并须根
据当前的工作的需要，不同的均频EQ设置可能会比预设值更合适。
? use CC90 to activate and bypass the Tuning Script.
用CC90开/关 ‘调整’性能程式，Tuning Script。
All Legato “Speed”
patches
所有连奏‘速度’
声音程式
? use CC83 to control the speed of the portamentos or glissandos.
用CC83控制 滑音和滑奏的速度。
All sustained samples
所有延音样本
? are looped.
是循环的。
Featured LASS LS Scripts: 拉丝弦乐有下列性能程式
? Auto Arranger — allows you to play polyphonic legato and (accurate player count) divisi parts in
real-time.
自动编曲，Auto Arranger， – 可以实时演奏和弦连奏或（以正确数目的乐师）演奏分部旋律。
? LASS Real Legato — REAL legato performance samples meticulously programmed and scripted
for non-repetitive legato transitions and real-time control of legato articulations.
拉丝弦乐真连奏，LASS Real Legato ， - 精心策划及录制的‘真正的’连奏表演样本，用来作?非
重复的连奏衔接，也可用来实时控制连奏衔接。
? Delay and Humanization — add delay and randomization to the timing of note playback.
延迟和人性化 –加入随机化的延迟于音符的播放速度。
? CC Table — allows you to create your own volume curves for sustain and legato patches.
CC表 – 可以创建你自己的音量曲线，持续，sustained，和连奏声音程式都适用。
? A.M.G. — Anti Machine Gun. Triggers alternate samples to avoid sample repetition.
‘反机枪’A.M.G. - 触发‘使用替代样本’功能，以避免样品重复。
? Tuning Tool — allows you to create your own tuning table and add tuning randomization to
patches.
调整工具 – 可以创建你自己的调音台，并添加随机化调整声音程式的功能。
TIP: If you are going to be playing a lot of unison by layering all the divisis and playing chords at the
same time, you will be taxing your computer and hard drive quite a bit. Instead, you should probably
load the Full Mix version of those sections. That is what the Full Mix patches were designed for.
提示：如果你要同时演奏很多个齐声，unison，你可以通过层加所有分部，divisi，同时演奏和弦
来演奏，但你必须使用非常好的电脑和硬盘。或者，你可以载入‘充分混合’，Full Mix， 版本的
声音程式。这些声音程式就是设计来作这个用途的。
?
LASS Real Legato Patches 拉丝弦乐 真连奏声音
程式
LASS Real Legato patches are very easy to play. Basically, you play legato transitions by either
overlapping notes as you play or by pressing down on the sustain pedal as you play a melodic phrase. If
you do use the sustain pedal, make sure you release it before you release the last note of the phrase to
hear the release trigger sample (RT).
拉丝弦乐真连奏，LASS Real Legato， 声音程式是很容易使用的。基本上，您无论是演奏时重叠音
符，或在演奏一个旋律短语时同时压下延音踏板都可以达到连奏衔接的效果。如果使用延音踏板，
一定要在结束旋律的最后一个音符前松开延音踏板，才能听到包括‘触发的音尾’ 的样品，
release trigger (RT) sample。
Depending on the velocity at which you play the notes, you will trigger either a clean legato, portamento
or glissando performance. Generally the harder velocities trigger legato samples, medium velocities
trigger portamentos and very low velocities trigger glissandos. However, all keyboard controllers react
differently, so you can adjust the script’s settings to suit your keyboard and playing style. Also, when you
play a chord, the Real Legato script will interpret it as a chord and play all the notes. All LASS sustained
samples are looped. For a more in depth explanation of the Real Legato features, see the section LASS
Real Legato script.
根据您弹奏音符的速度，会触发一个清晰的连音，滑音或滑奏。一般情况下，最快的速度引发的
是连奏的采样，中等速度引发滑音，非常低的速度引发滑奏。然而，各个键盘控制器反应不同，
所以你可以调整性能程式的设置，以适应您的键盘和演奏风格。此外，当您演奏和弦时，拉丝弦
乐真连奏程式将演奏所有的音符视他们为一个和弦。所有拉丝弦乐延音的样品都是循环的。要更
深入地了解拉丝弦乐真连奏程式的功能，请参见拉丝弦乐真连奏性能程式章节。
All “Leg” patches utilize LASS’s Real Legato Script. All the options below are available via the Sample
Load Options in the patches. Simply click on the “Carrot” (the upside-down triangle) to load the options
below:
所有标有“Leg” 的声音程式都使用拉丝弦乐真连奏性能程式。下面的所有选项都在声音程式的
样品加载选项表，Sample Load Options，中。只需点击如上图所示的倒置三角形即可加载下面的
选项：
Remember: “Esp Leg” = Espressivo Legato, “L” = Legato, “P” = Portamento, “G” = Glissando and “Lt” =
Lite.
请记住：“Esp Leg” = Espressivo Legato 富表情的连奏, “L” = Legato 连奏, “P” = Portamento 滑音,
“G” = Glissando 滑奏， “Lt” = Lite 轻的. Speed 可变速的。
Patch Load/Purge options
声音程式 加载/清除 选项
Description
描述
RAM Usage
?存使用
Esp Leg LPG
（见上）
Espressivo Legato with legato, portamento and
glissando intervals.
富表情的连奏含连奏，滑音，及滑奏的片段。
(DFD)
直接从磁盘
Esp Leg LPG Speed P
（见上）
Espressivo Legato, portamento and glissando
intervals. Use CC83 to control the speed of the
portamento. When CC83 is at zero, you’ll get the
slowest portamento. The higher the CC83 value, the
faster the portamento. When CC83 is at 127, the
portamento almost sounds like a clean legato. This
can be very useful for adding variety to ostinato lines.
富表情的连奏含连奏，滑音，及滑奏的片段。使
用CC83控制滑音的速度。当CC83是零时，滑音
最慢。CC83值越高，滑音越快。当CC83是127
时，滑音听起来几乎像一个清晰的连奏。这性能
可以用于将各种变化加入至重复的固定音型。
(DFD and
RAM)
直接从磁盘
及使用?存
Esp Leg LPG Speed P+G
（见上）
Espressivo Legato with legato, portamento and
glissando intervals with speed control of the
portamento and glissando. Use CC83 to control the
speed of the portamento and glissando. These are
the most RAM hungry patches in LASS.
富表情的连奏含连奏，滑音，及滑奏的片段。其
中滑音，及滑奏可变速，通过CC83来控制。是拉
丝弦乐中最费?存的声音程式。
(DFD and
RAM)
直接从磁盘
及使用?存
Esp Leg LP
（见上）
Espressivo Legato with legato and portamento
intervals.
富表情的连奏含连奏，及滑音的片段
(DFD)
直接从磁盘
Esp Leg LP Speed P
（见上）
Espressivo Legato with DFD legato and RAM
portamento intervals. Use CC83 to control the speed
of the portamento. When CC83 is at zero, you’ll get
the slowest portamento. The higher the CC83 value,
the faster the portamento. When CC83 is at 127, the
portamento almost sounds like a clean legato. This
can be very useful for adding variety to ostinato lines.
富表情的连奏含连奏（直接从磁盘），及滑音
（使用?存）的片段。使用CC83控制滑音的速
度。当CC83是零时，滑音最慢。CC83值越高，
滑音越快。当CC83是127时，滑音听起来几乎像
一个清晰的连奏。这性能可以用于将各种变化加
入至重复的固定音型。
(DFD and
RAM)
直接从磁盘
及使用?存
Esp Leg LP Speed P_Lt
（见上）
Espressivo Legato Lite on RAM with DFD legato and
RAM portamento intervals. Use CC83 to control the
speed of the portamento. When CC83 is at zero,
you’ll get the slowest portamento. The higher the
CC83 value, the faster the portamento. When CC83 is
at 127, the portamento almost sounds like a clean
legato. This can be very useful for adding variety to
ostinato lines.
富表情的连奏含连奏（直接从磁盘），及滑音
（使用?存）的片段。使用CC83控制滑音的速
度。当CC83是零时，滑音最慢。CC83值越高，
滑音越快。当CC83是127时，滑音听起来几乎像
一个清晰的连奏。这性能可以用于将各种变化加
入至重复的固定音型。
(DFD and
RAM)
Lighter on
RAM than non
LT patches.
直接从磁盘
及使用?
存，较非轻
型程式省?
存
Esp Leg L
（见上）
Espressivo Legato with legato intervals (this takes the
least RAM of any legato patch).
富表情的连奏仅含连奏的片段。（最省?存）
(DFD)
直接从磁盘
Tip: For a lot of film-score type music you might not even need the glissando articulations. You could
save quite a bit of RAM by not loading the Gliss samples. “Lt” patches perform almost exactly as Speed
patches... but take less RAM using Kontakt’s new RAM saving features.
提示：很多电影配乐类型的音乐，可能甚至不需要滑奏衔接。可以通过不加载滑奏，Gliss，样品，
来节省相当多的电脑?存。 “轻的”，?Lt?， 声音程式性能和一般可变速的声音程式（所谓
“速度”，Speed，声音程式）几乎完全一样......但因使用拉丝 弦乐（Kontakt）的新的节省?存功
能所以需要较少的内存。
What does Direct from Disk (DFD) technology do? The basic idea is that patches or samples in DFD mode
work by first loading a small amount of the sample into RAM — just enough so that when a note is
struck, the hard drive has enough time to locate the sample file and start playing it back. The benefit is
you can play patches that might otherwise take entire gigabytes of RAM in Sampler mode. The drawback
is that the maximum voice count is dependent on the speed of the hard drive.
什么是直接从磁盘（DFD）技术呢？DFD模式的基本概念是，先装入程式或样品的少量片段于内
存中- 片段刚好够长，当第一个音符奏响时，硬盘有足够的时间找到其余部分适时播放。这样作的
好处是，可以演奏大的声音程式，即使大于整个电脑?存；而缺点是，同时演奏的程式的数量由
硬盘驱动器的速度决定。
The “Speed” samples have been programmed to give you 100% real-time speed control of all
portamentos and glissandos no matter what dynamic...or even if you’re in mid-crescendo — the
performance is transparent. These Speed Control samples (which use CC83 to control the speed of the
intervals) take more RAM, so (as you can see above) regular, medium, and fast DFD legato patches were
done for those who are concerned about RAM. You can find the right combination for you and your
setup.
可变速，即所谓“速度”，的样本提供对滑音和滑奏的100％的实时地圆滑地速度控制，无论是
在什么力度，即使在渐强中。这些速度控制样品（使用CC83控制片段的速度）需要较多的内存，
所以（如上所示），拉丝弦乐包含正常，中速和快速直接从磁盘（DFD）取出 的连奏声音程式。
必须注意?存，RAM，用量的使用者，可以根据需要和设备，选用正确的组合。
All the patches’ dynamics are controlled by CC1 (Mod Wheel). All patches throughout LASS have CC11 as
an additional volume control. All LASS patches also use CC7 as a patch master volume controller.
拉丝弦乐中所有声音程式的力度都是由CC1 (Mod Wheel)控制，用CC7控制主音量，用CC11增加
一层音量控制。
NOTE: The reason there are no cello or bass ensemble glissandos was to save the players’ fingers from
being “shredded” by the long and brutal glissando charts. The portamento articulation would cover
most of these situations for the cellos and basses and it seemed wrong to force these great players to
abuse their fingers on those large instruments.
注：大提琴和低音提琴没有滑奏样本，因?这些乐器滑奏太伤手指。大部分的情况下滑音就足够
了。
?
LASS Real Legato Script拉丝弦乐真连奏性能程式
The LASS Real Legato script is LASS’s legato engine. It does a lot of things behind the scenes so that you
can focus on playing realistic legato lines and melodies in real-time rather than micro-editing your
performances. Depending on your settings, the velocity at which you will play legato lines dictate the
type of legato transition played. Generally:
拉丝弦乐真连奏性能程式像是拉丝弦乐的连奏引擎。它做了很多幕后的事情使你可以专注于实时
演奏逼真的连音旋律，而不是事后微观编辑演出录音。根据设置，连奏的速度决定连奏的衔接类
型。一般来?：
? A harder velocity will trigger a clean legato performance.
快速引发清晰的连奏， legato。
? A medium velocity will trigger a portamento performance.
中速引发滑音，portamento 。
? A very soft velocity will trigger a glissando performance.
慢速引发滑奏，glissando。
? CC1 (Modwheel) will control the dynamics – think of it as “bow pressure”.
CC1 (Mod wheel) 控制力度—可以想象力度为“弓的张力”。
Here are the basic performance CC assignments:
以下CC 设置控制基本性能：
CC# CC号
Explanantion ?明
CC1
This controls the dynamic layers of the patch (ppp through fff) and also the volume
of those layers.
控制声音程式的力度层（从最弱到最强），以及那些层的音量。
CC3
This lets you ride the Tune Amount knob in the Tuning script. Great for subtle or
drastic tuning effects
调整‘调音’性能程式中的‘调音量’旋钮。细微或剧烈的调整效应都合适。
CC7
This controls the master volume of the patch.
控制声音程式的主音量。
CC11
This adds one more level of volume control for added flexibility.
增加了一层音量控制，以增加使用灵活度。
CC90
This turns On/Off the Tuning script.
开/关 ‘调音’性能程式。
CC110
This (default) allows you to choose the various A.M.G. (anti machine gun) modes in
real-time.
默认设置是，实时 ，real time，选择不同的AMG ，‘抗机枪’，模式。
CC111
This (default) allows you to turn on/off the legato modes in real-time.
默认设置是，实时 ，real time，开/关 连奏模式。
CC83
This controls the speed of the portamentos and glissandos in real-time on “Speed”
patches.
实时控制 “速度”声音程式中滑音和滑奏的速度。
CC64
This (Sustain Pedal) forces whatever you play to be played “legato”
延音踏板，以“连奏”演奏音符。
TIP: Three CCs (CC1, CC7 and CC11) are consistent throughout LASS in all sustain and legato patches.
However, in Delay & Humanization script you can re-route these CCs for custom uses (See Delay &
Humanization).
提示：这三个CC（CC1，CC7和CC11）的设置在整个拉丝弦乐，所有延音及连奏声音程式，中是
一致的。然而，在延迟和人性化，Delay & Humanization，的性能程式，你可以重新设置这些CC
以利特殊应用（见延迟与人性化章节）。
The script can sense whether you’re playing chords (like double stop) or legato lines and if you turn the
legato mode off (this can be done in real-time via CC111), you can also play these patches as regular
non-legato sustain patches. Holding down the sustain pedal while in Legato mode allows you to play
legato lines without overlapping the notes with your fingers.
拉丝弦乐真连奏性能程式可以察觉您是否在弹奏和弦（如双音）或连奏，如果你把连奏模式关闭
（通过CC111可以实时关闭），您也可以用这些声音程式作为非连奏的延音声音程式。在连奏模
式中按住延音踏板可以演奏连奏乐段而不须真的透过重叠音符来达到连奏的效果。
If you load the Legato “Speed” patches, you’ll be able to control the speed of the portamentos and
glissandos using CC83. CC83 is “hard wired” to control the speed of the transitions, so it’s best if you
program your keyboard controller or MIDI fader hardware to transmit CC83.
如果加载拉丝弦乐真连奏的“速度”，即‘可变速’，的声音程式，可用CC83控制滑音和滑奏
的速度。 CC83是“硬连接”，“hard wired”，来控制衔接的速度，所以最好将键盘控制器或MIDI
推子硬件，MIDI fader hardware，设置为能收发CC83的讯息。?
The Performance Page 性能
1. The AA button –– This gives visual feedback as to whether the Auto Arranger is On or Off. You
can also click on it to turn the Auto Arranger on.
AA按钮 - 显示自动编曲，Auto Arranger，功能是开或关。您也可以点击它来打开自动编曲功能。
2. Play menu — Below the “Play” header, you will see 3 drop-down menus that look like triangles
next to the words “leg”, “port” and “gliss”. These are the Load and Purge menus for each articulation.
Instead of having a multitude of patches with different articulations loaded, here you have one “master
patch” and you can decide what articulations to load.. and what RAM options you want to choose for
these articulations.
播放，Play，选项表 - 在此选项表的下方，你会看到3个下拉选项表，看起来像三角形位于连奏
“leg”，滑音 “port” 和滑奏“gliss”标示的旁边。这是各个衔接的加载和清除选项表。这样子
就不需要加载众多声音程式，各自有不同的衔接，在这里你有一个“总声音程式”，你可以决定
要加载哪些衔接..和各个衔接的?存有关的选项。
RAM Mode
?存选项
Description
描述
Unload
卸载
This option unloads/purges the samples from RAM. Then can always be loaded
back in later if you want by choosing one of the options below.
此选项将卸载样本，清除出?存。稍后如有需要，可用下面描述的选项再次
加载已清除的样本。
DFD
直接从磁盘
DFD means Direct From Disk. This option takes up the least amount of RAM but
does not allow you to control the speed of your transitions (leg, port, gliss).
DFD是直接从磁盘读取。此选项占用最少的?存，RAM，但不能控制衔接
（连奏 “leg”，滑音 “port” 和滑奏“gliss”）的速度。
Speed Lt
轻速度
This option is a “Lite” version of the “Speed” mode. It allows you to change the
speed of the articulations with CC83, while not taking up as much RAM. It almost
has the same range as the “Speed” versions... but not quite.
这个选项是一个“精简版”的“速度”模式（见下）。它允许你透过CC83
更改衔接的速度，但是需要较少的?存，RAM。它的用途几乎与“速度”版
本相同......但并不完全。
Speed
速度
This fully loads the transitions into RAM... thereby giving you the most control of
Speed using CC83.
加载所有衔接声音程式到内存...从而给你，透过CC83，对速度最大程度地控
制。
3. Velocities — This tells you at which velocities you will play the different legato articulations.
速度 – 显示在哪个速度，那个衔接（连奏 “leg”，滑音 “port” 和滑奏“gliss”）会被采用。
For example, based on the display above, if you:
例如，如上所示，则：
? Play a velocity between 51 and 127 you will play a legato articulation.
速度在51及127之间，连奏衔接。
? Play a velocity between 5 and 50, you will play a portamento articulation.
速度在5及50之间，滑音衔接。
? Play a velocity of 4 or less, you will trigger a glissando.
速度在0及4之间，滑奏衔接。
The above are the default settings. By changing the velocity values (item 6 and 7) you can find the
velocity settings that best suits your playing style and keyboard controller sensitivity.
上述是默认设置。通过改变速度值（见下面第6项和第7项），依据您的演奏风格和键盘控制器
的灵敏度，可以另行设置最适合的速度。
4. Legato Menu
连奏选项表
? On — Turns on the Legato mode of the patch and can be controlled in real-time using CC111
(default). Make sure to play line while overlapping notes to invoke the legato articulation. Or play with
the pedal down.
开/关 - 打开声音程式的连奏模式，可以使用CC111（默认设定）实时控制。要引发连奏衔接必须
在演奏乐曲时重叠音符，或者放下踏板。
? Trig — This menu gives you the option of having the Legato behave like the old analogue type
synths’ legato mode and can be controlled in real-time using CC111 (default)
Trig - 此选项表提供选项使连奏表现得像老的模拟合成器的连奏模式，可以使用CC111（默认设定）
实时控制。
? CC — This is the CC number to control the Legato mode. It is user definable but is set to CC111
by default.
CC - 这是控制连音模式的CC号码。默认设置为CC111但使用者可以改变，自行设定。
5. A.M.G. Menu — A.M.G. stands for Anti Machine Gun. The term “machine gun” is used to
describe the sound of the same sample being triggered over and over again. The A.M.G. logic is used to
eliminate the repetitive nature of samples by playing alternate samples when you repeat the same
notes. There are 4 types of A.M.G.:
A.M.G. 选项表 - A.M.G.代表反机枪，Anti Machine Gun。术语“机枪（声）”是指一遍一遍地触发
同一样本的声音。应用A.M.G.逻辑，当重复相同的音符时演奏不同的样品，以消除样品的重复性。
A.M.G有4种类型（译者：原文是这?写的。不清楚是那四种。）：
? Leg — this only alternates the samples on the legato transitions (and portamento and glissando).
Leg – 重复时演奏不同的连奏（滑音或滑奏）衔接的样品。
? Sus — this alternates the sustained samples
Sus - 重复时演奏不同的延音，sustained，的样品。
? CC — This is where you input the CC number with which you can select the A.M.G. mode in real-
time.
CC – 使用者设置的CC号码，用来实时打开A.M.G. 模式。
NOTE: Since A.M.G. borrows samples from higher or lower pitches than originally intended, there can be
a slight change in timbre. Sometimes this is a welcomed thing, at other times, it may distract you. Use
your ears and decide what works best for you under the circumstances.
注：由于A.M.G.向比原音阶较高或较低的音阶借用样品，所以可能导致音色略有变化。有时候，
这是好事，在其他时候，可能不适合。在这种情况下，用你的耳朵决定最适合的选择。
TIP: If the changes in timbre (formant shift) are distracting to you, by blending the different divisi
sections (A,B,C) you can mask this formant shift and still retain the benefit of non-repetitive samples.
提示：如果不想要上面所说的音色（共振峰移动）的变化，通过混合不同divisi部分（A，B，C）
可以屏蔽这个共振峰转变，仍然保留样本不重复的好处。
6. Options
选项
? Rel. Trigger –– This lets you turn On/Off the release tails of patch. Release tails make the ending
of the notes sound much more realistic.
音尾触发器 -打开/关闭声音程式的音尾，the release tail。加入音尾使音符的演奏更真实，结尾听
起来更加逼真。
? Leg RT –– This lets you turn On/Of the RTs during legato transitions. This can add more
instrument sound between legato notes. It is subtle.
连奏音尾触发器 -在演奏连奏衔接时开/关音尾触发器。这可以在连奏音符之间很微妙地增加更多
的乐器声音。
? EQ — This button turns on/off the EQ for this instrument. The full EQ section can be seen
selecting “EQ page” in the page menu (item 15).
均频 -开启/关闭该乐器的均频功能，EQ。另可在页面选项表（下面第7项）中选择“EQ页面”来
打开完整的EQ控件页面，。
? Slop Detect — This prohibits chords from being accidentally triggered when playing in legato
mode. This can happen when your finger plays 2 keys instead of one resulting in a clumsy sound. This
button prohibits this.
‘溢音’检测 – 在连音模式中防止和弦被意外触发。‘溢音’指当手指按下两个键，而不是一个，
导致奇怪的声音。此按钮防止这一事件。
? Chord ms — This is the number of milliseconds the script will allow before considering a note
being played a legato note as opposed to a chord. This allows you to play chords and legato lines
without changing the legato mode.
和弦毫秒数 - 这是一个音符演奏多久后，会被性能程式认定是一个连奏音符，而不是和弦。这样
子可以同时演奏和弦和连音而不须改变连奏模式。
7. Page Menu — This is where you choose what page of controls you want to access: Performance,
Legato Tweak, and the EQ page.
页面选项表 -选择想要的控件页面，即： 性能 Performance ，连奏调整 Legato Tweak，和均频EQ
页面。
Tip: Please view or online video tutorial on Assigning CCs in LASS.
提示：请?读或在?上观看拉丝弦乐关于设置CC的在线视频教程。
?
Legato Tweak Page — be careful on this page!! 连奏调整页面 - 小心进行!！
When you play a legato phrase, the note which precedes the legato interval will be referred to as the
first note. The second note is the actual legato note. If you would like to customize the way the LASS
Real Legato script transitions between the first and second notes, this is where you do it. BE VERY
CAREFUL...A lot of time has been spent getting good numbers for these settings (and everything else
that is going on “behind the scenes” in this script) so make sure you understand what you are doing by
reading the explanations below before trying to Tweak these settings.
当演奏连奏乐段时，连奏句子前的最后一个音符在此将被称为第一音符。实际的连奏音符在此将
被称为第二音符。这个页面用来设置拉丝弦乐真实连奏性能程式如何达成第一和第二音符之间的
转换。必须非常小心......很多的心血已经花在优化这些设置（更别?其他一切由 性能程式在“幕
后”执行的功能）。所以在试图调整这些设置前一定要阅读下面的?明了解所作的调整会产生的
影响。
1. Edit Leg/Port/Gliss Menu — For reasons too complicated to explain, BEFORE you turn any knobs
on this page, make sure you select the type of legato you want to adjust from the drop-down menu
EVEN if it is already showing when you come to this page. Otherwise you may inadvertently mess up the
settings for one of the other transitions by mistake. Of course you can always just re-load the patch to
return to the default settings, but you can avoid unnecessary frustration by adhering to the “choose
your legato type from the drop-down menu first” rule.
编辑选项表，Edit Leg/Port/Gliss – 因?无法在此解释清楚的原因，在此页面作任何改变之前，请
从下拉选项表中选择要调整的衔接类型（连奏，滑音或滑奏），即使是当选择的类型已经显示在
这个页面上。否则，你可能在不经意间改变其他衔接类型的设置。当然，透过重新加载声音程式
可以返回到默认设置，但不如通过秉承“第一步，从下拉选项表中选择要调整的衔接类型”的规
则来避免不必要的麻烦。
2. First Note Fade Out — This controls how fast (in milliseconds) the “first” note will fade out as
the legato “second” note is triggered. This knob and the Second Note Attack knob should provide you
with most of what you need in customizing the transitions. For faster passages, try reducing the First
Note Fade Out. You’ll find it sounds better on really fast passages this way. The default settings in LASS
are designed to provide a good performance for most applications, but if you want to play faster lines
and perhaps even runs, I’d recommend shortening the First Note Fade Out.
第一音符淡出 - 控制，当连奏的“第二音符”被触发时，“第一音符”将多快地淡出（几毫秒）。
这个旋钮和“第二音符开始”旋钮（见下）几乎可以支持所有衔接转换。当乐曲比较快时，应尽
量减少第一音符淡出值。这样设置，非常快的乐曲的声音会更好。拉丝弦乐的默认设置主要是要
在大多数应用上都有良好的效果，但当乐曲比较快时，我建议缩短第一音符淡出。
3. Second Note Attack — This dictates how fast (in milliseconds) the “second” note (the legato
note) will transition-in from the first note. On really fast runs, you can try making the attack faster...use
your ears to judge. I find that just reducing the First Note Fade Out does the trick most of the time for
faster passages.
第二音符开始 - 决定从“第一音符” 转换到“第二音符”（连奏音符）的时间（几毫秒）。在非
常快的乐曲，可以尝试缩短这个设置值...是否合适，由耳朵判断。我发现，对较快的乐曲大部分
的时间只需减少“第一音符淡出”即可。
4. Curve — This is the shape of the fade-in. This knob is governed by the From% and To% fields, so
it is only for a visual guide. A value of 100 will yield a steep version of this type of slope ? , a value of 0
will yield a linear slope ? and a value of -100 will yield a steep fade in shape like this ?. Again, as much
as you’d like to tweak this knob, it is really only for informational feedback purposes. The From% and
To% fields are the only way to really control the Curve knob.
曲线 - 这是淡入的形状。这个旋钮其实只是一个视觉显示，形状是由“自％，到％”值决定，见
下。数值100会产生一个陡峭的坡形 ?，数值0会产生一个斜坡 ? ，数值-100会产生一个陡峭的
淡入形状 ?。不要想调整这个旋钮，这旋钮真的只用于提供信息反馈。“自％，到％”值是控制
“曲线”旋钮的唯一途径。
5. From% and To% — These 2 fields control the amount that your Mod Wheel will affect the Curve
of the fade in. By setting the From% to 0 and the To% to 100, the Curve knob updates its value when you
play notes and change the CC1 levels. Extreme From% and To% settings (like -100 or +100) are not
typically ideal. You’ll need to find the “sweet spot” of where the Curve and fade-in time sounds best on
the fff samples (Mod Wheel all the way up) and where the Curve sounds best on ppp samples (when the
Mod Wheel is all the way down).
“自％，到％”值 - 这两个数值控制调制轮 （Mod Wheel）如何决定淡入的曲线。通过设置“自
％”为0，“到％”为100，当音符弹奏， CC1水平改变时，曲线旋钮更新其值。设置极端的
“自％，到％”值（如-100或+100）通常都不理想。需要找到最适当的“甜蜜点”，使声音在最
强（fff）的样本（当调制轮在最上面）和最弱（ppp）的 样本（当调制轮在最下面）都是最好的。
前者是由“曲线”和淡入时间决定，后者由曲线控制。
NOTE: Considerable time was spent tweaking these patches during development, so adjusting the First
Note Fade and Second Note Attack should suffice for most situations.
注：在开发过程中相当多的心血已用在调整这些声音程式上，因此调整“第一音符淡出”和“第
二音符开始”应该足以满足大多数情况。
?
EQ Page 均频 页面
This is where you set the EQ and you can save your EQ setting to any of 10 preset slots. Freq is the
center frequency of the EQ band, Q is the bandwidth, and Gain is the amount of gain you would like to
apply to the frequency and its bandwidth. You’ll notice that there are three of each knob. This is for
setting up to 3 different frequencies, bandwidths and gains per patch.
用来设置均频（EQ），可以将设置好的均频保存在10个预置位置。有三组旋钮：频率（Freg）是
均衡器频段的中心频率，Q是带宽，增益（Gain）是加到频率和带宽的增益量。每组有三个旋钮，
用来设定3个不同的频率，带宽和增益。
1. EQ Menu — This is where you can choose some pre-programmed EQ settings or you can save
your own settings. (see image at right)
均频选项表 – 用来选择或储存预先设置好的均频。
2. Freq — This is the frequency knob of the EQ. It will display the frequency in hertz (Hz).
频率（Freg） - 均频的频率旋钮。频率单位是‘赫’，hertz (Hz)。
3. Q — This is the bandwidth of the frequency. It will display the bandwidth in octaves (oc).
带宽（Q ）— 频率的带宽。单位是 ‘八度’，octaves (oc)。
4. Gain — This is the gain (boost or cut) of the frequency. It will display the cut or boost in decibels
(dB).
增益（Gain）- 频率的增益（增强或减弱）。单位是‘分贝’，decibels (dB)。
5. EQ — This button turns the EQ on or off.
均频（EQ）- 开/关均频功能。
NOTE: The EQ preset is a good starting point but please also try the patches without EQ. EQ is such a
personal thing, and depending on the job at hand, different EQ settings could be more appropriate. Also,
Make sure you try out the ARC’s Stage & Color settings. One LASS 2’s greatest features are the sonic
profiles based on famous scores and recordings.
注：本页面的均频预设值是一个很好的起点，但也须尝试不用均频。 均频的运用是非常主观的事
情，且并须根据当前的工作的需要，不同的均频设置可能会比预设值更合适。此外，务必尝试
ARC（Audiobro遥控器）的‘舞台及音色’的设置，拉丝弦乐 最主要的特色之一是灵感来自著名
的电影音乐和录音的乐声‘型材’profile（即所谓的‘颜色’）。
?
Auto Arranger 自动编曲
***For a list of Auto Arranger multis and patches, please see the LASS Ver1.5 Patch List PDF.
自动编曲声音程式合成，multi，和声音程式，patch，的完整名单，请参阅LASS Ver1.5声音程式
列表（PDF档）。
The Auto Arranger (AA) is a feature exclusive to LA Scoring Strings that allows you to play polyphonic
legato lines, chords and phrase while splitting your chords into divisi sections or different instruments
sections (if you prefer) and maintaining an accurate player count… as opposed to having the typical
cumulative player count on chords as with other stringed sample libraries. This “auto divisi” feature
can be a HUGE time-saver as well as a VERY inspirational composing tool. The Auto Arranger easily
tracks the voices and splits them into divisi parts while retaining all the legato/portamento/glissando
articulations.
自动编曲（AA）是拉丝弦乐的一项独家功能，让使用者演奏和弦连奏乐段，和弦和短语，同时分
配和弦到各个部分，divisi，或不同的乐器部分（如果需要），并维持正确的乐师数量...这是不同
于其他弦乐器样本库所用的典型的累积乐师的数目的做法。这种“自动分部”“auto divisi”功能，
可以节省很多时间，同时是一个能引发灵感的编曲工具。自动编曲自动追?乐音，把和弦分配到
各个部分，divisi，同时保留所有的连奏/滑音/滑奏衔接。
Note: The Auto Arranger employs a “look ahead” feature that can be tailored to your playing style and
may result in noticeably latency. To change the “look ahead” timing, you can do so in the Chord
Detection “Chord ms” field in the expert page. This “look ahead” latency can be reduced to an
undetectable level especially on longer sustained articulations, but you will have to play more
accurately or quantize your performance.
注：自动编曲“向前看”，“look ahead”，的功能可能导致明显的延迟，可根据您的演奏风格个
别设置。要改变“向前看”的时间，可以在‘专家’‘expert’网页上‘和弦检测’‘Chord
Detection’项目的“和弦毫秒”“Chord ms”栏上进行。这种“向前看”的等待时间可以减少到
感觉不到的地步，尤其是在较长的延音衔接中，但你必须要更准确地演奏或量化你的演出。
To get a better understanding on how to use the Auto Arranger, please view the online or
downloadable video tutorials.
要更深入的了解如何使用自动编曲，请收看在线或下载的视频教程。
The Sustain Pedal 延音踏板
The sustain pedal works slightly different when AA is engaged to allow for a more convenient of the
Auto Arranger. When new notes are played while the sustain pedal is pressed (CC64 > 63), the divisi
rules will be re-evaluated only for the notes that are still held down. Releasing notes will not result in
division rule re-evaluation, that aspect of the sustain pedal mechanism is not altered.
当自动编曲（AA）开着时延音踏板有稍微不同的性能，以便利自动编曲的进行。当新的音符与延
音踏板同时按下时（CC64>63），divisi规则重新评估仅适用于仍然按住的音符。释放音符键不会
造成divisi规则重新评估，在这方面延音踏板的性能没有改变。
Please note that the sustain pedal on non-legato sustain articulations will only work when AA is On.
请注意，延音踏板用在非连奏延音衔接时AA必须是‘开’着。
Auto Arranger — Basic Edit 自动编曲 – 基本篇
The Auto Arranger script (AA) has two main screens: one for a general overview called Basic Edit (the
default) and another one for greater control, called Expert Edit.
自动编曲（AA）程式有两个主要介面：基本编辑（默认介面）大致涵盖每一功能；另一介面，专
家编辑，提供更高级的控制。
The Basic Edit page has the following controls:
基本编辑介面，Basic Edit page， 提供下列功能：
1. Divisi rules/Delay and Routs menu –– this allows you to navigate between the Auto Arranger
and Delay and Humanization pages.
（译者- 原文中这段文字显然有误。正确的描述请看下面Delay and Humanization Script章节， 1.
Auto Arranger and Delay and Humanization (DNH) menu。）
2. Auto Arr. On/Off –– a button that indicates whether Auto Arranger is On or Off. If AA is Off, the
instruments’ behavior will be identical to the default LASS behavior.
自动编曲 开/关 ，Auto Arr. On/Off - 显示自动编曲功能是否开启。如果自动编曲功能是关闭的，
则所有乐器的表现将回归到拉丝弦乐的默认的设定。(译者：在上面例图中，此栏目是在标注?1
的位置。)
3. AA Byp. CC –– you can set a CC to control the On/Off state of AA. This is by default CC30 on all
patches.
自动编曲 开/关 CC，AA Byp. CC -用来控制自动编曲的开/关状态的CC。在所有声音程式，默认值
是CC30。(译者：在上面例图中，此栏目是在标注?2的位置。)
4. Preset Divisi Role menu –– you can select a role for the patch, in which it should react to
incoming notes when AA is on. A role is essentially a preset of different divisi rules. For example “A in 3-
part” means that the given patch will act as a quarter divisi that gets assigned to the highest note. Please
keep in mind, that these preset names try to convey not only the role, but the division ratios as well. So
the above role assumes that the other two divisis in the 3-part will be another quarter section and a half
section. A 4-part means the solo-quarter-quarter-half section split.
预设分部角色选项表，Select Divisi Role - 用来指定一个声音程式在自动编曲是开?状态时的角色，
即应如何演奏传入的音符。角色基本上就是不同的分部，divisi，的预设的规则。例如“3部分的
A”，“A in 3-part”，意味着该声音程式将是被分配到最高音域的四分之一分部，quarter divisi 。
请注意，这些预设名称不仅要表明作用，还要表明分部间的比例。所以上述角色，“3部分的
A”，?明了3部分的其他两个分部是另一个四分之一分部和一个二分之一分部。同理，“4部分”
指独奏分部，两个四分之一分部和一个二分之一分部， solo-quarter-quarter-half section split。
5. Lo –– you can set the lowest note this patch will consider to play, any notes below this will be
discarded.
最低音符，Lo - 设定这个声音程式可以演奏的最低音符，低于此的音符将被屏弃。
6. Hi –– the highest note the patch will take into consideration when determining which note to
play.
最高音符，Hi - 设定这个声音程式可以演奏的最高音符，高于此的音符将被屏弃。
7. No Divisi Retrigger/Retrigger Divisi –– if this button shows “Retrigger Divisi” , then upon
releasing a note the patch will re-evaluate the remaining notes in the chord and select a new note to
play according to its rules. If sustain pedal is down and the patch gets assigned to the same note it had
before it’ll play it again.
是否再触发分部规则，No Divisi Retrigger/Retrigger Divisi - 如果此按钮显示“重新触发分部规则”，
“Retrigger Divisi”，当一个键（音符）被释放后声音程式将重新评估和弦中剩余的音符，根据其
规则选择一个新的音符。如果延音效果是开?的且声音程式被分配到同一个音符，则该声音程式
会再演奏该音符。
8. Presets menu –– you can store up to 12 Auto Arranger presets, you can select the currently used
and edited one from this menu.
预置选项表，Preset - 可以储存12套预置的自动编曲的设置。可以选择当前使用的，也可从该选
项表选出一套来编辑。
9. Preset keyswitch menu –– you can select a preset via keyswitches, here you can reassign the
selected preset to a new keyswtich note. By default the 12 presets are mapped from F6 onwards
(above).
预设按键选项表，Preset keyswitch - 可以选择通过按键改变预置。可以重新选择一个新的按键映
射到一个预设。默认设置是，从F6起映射到12个预设（见上图）。
10. Go to expert/basic edit –– switch between the two main views of the AA script.
进入专家/基本编辑，Go to expert/basic edit - 自动编曲（AA）程式的两个主要介面之间的切换。
Auto Arranger — Expert Edit 自动编曲 – 专家篇
The Expert edit view offers additional editing capabilities:
专家编辑介面, Expert edit view,提供了额外的编辑功能：
1. Play from chord menu — which note should the patch play from the notes of the chord. This can
be considered as a main, general rule, regardless of any conditions. The notes are ordered in a
descending order, only notes within the patch range adjustable by Lo and Hi will be considered.
和弦音符演奏选项表 – 指定声音程式应演奏和弦中的那个音符。在任何情况下这个设定应被视?
选择和弦音符主要的规则。音符是有序的降序排列，只有在声音程式音域内（可由上面提到的最
低音符，Lo ，和最高音符，Hi调整）的音符才予以考虑。
a) Note 1-12 — play the highest, second highest, ..., 13th highest note
音符1-12 - 声音程式，次高，。。。。，第12高音符。
b) None — do not play any note on this preset
无，None - 没指定任何音符。
2. If not present menu — if the note selected in Play from chord is not present in the current chord,
you can specify what the patch should do.
如果音符不存在选项表 - 如果和弦音符演奏选项表指定的音符不存在于当前的和弦，声音程式应
该如何反映。
a) Play first — the patch should play the highest note
演奏第一个，Play first — 声音程式演奏最高的音符。
b) Play closest — the patch should play the closest note
演奏最接近，Play closest — 声音程式演奏最接近的音符。
c) Play none — do not play anything
不演奏，Play none — 声音程式不演奏任何音符。
3. Change note — the selected note can be transposed by +/- 1-4 octaves.
音符调换 - 选择的音符可以被调换上下1-4个八度。
4. Chord ms — the chord detection time. This sets the time-frame within which all notes of the
chord should be pressed down. Notes arriving after this time will be considered as notes of a new chord.
和弦毫秒数, Chord ms - 和弦检测时间。一个和弦的所有音符都必须在由此设定的时间内演奏。在
此段时间后演奏的音符将被视为一个新的和弦的音符。
5. Rls ms — the release time, how many milliseconds the selected note should play after key
release. This is only necessary for non-sustained legato playing, so that the Real Legato script will be able
to play legato lines with the non- overlapping fingered legato playing style. When the sustain pedal is
down the release time will be discarded.
延续毫秒数, Rls ms - 设定延续时间。即一个音符键释放后，该音符应持续多少毫秒。这功能只有
在非持续性连奏，non-sustained legato，时需要，是?了让拉丝弦乐真连奏的功能程式能以非重
叠的手指连音，the non- overlapping fingered legato，的演奏风格来演奏连奏乐段。当延音踏板开
?时，此功能不起作用。
6. Set up sub-rules — you can set up sub-rules or exceptions for a given chord note count situation,
resulting in a different note selection from the chord than specified by the Play from chord menu.
设立子规则，Set up sub-rules - 设定子规则来应付一些特殊的和弦音符数目，将导致选择一个，
与依据‘和弦音符演奏选项表’的规则选出的，不同的音符。
Set Up Sub-Rules 设立子规则
In the sub-rules page you simply have to toggle the note-counts you’d like to assign a sub-rule to and
select the appropriate note from the menu appearing under the toggled button.
在这个子规则页面，先切换音符数，再在选项表中选择相应的音符。
1. If <n> notes — by toggling this button you can set a sub-rule when the chord held down consists
of <n> notes.
如果是<N>个音符，If <n> notes - 通过切换此按钮，设定一个子规则适用于当和弦是由<N>个音符
组成。
2. Play note <n> menu — which note to play, from 1, 2, …, <n> or none.
演奏第<N>个音符选项表 - 指定演奏的音符，从第1，2，...，到<N>，或无。
3. Back to main rule — return to the Advanced edit page.
回到主规则，Back to main rule - 返回到专家编辑，Expert edit，页面。
?
Delay and Humanization Script 延迟及人性化
The Delay and Humanization script is always in the first slot of almost every patch in LASS. The reasoning
for this script is to add timing variations to each of the different divisi sections so they sound more
natural when being played together. Also, you can be very literal if you’d like by applying laws of physics
to the various patches. For example, if you’d like to assign one of the divisi sections to the “back rows”
of players in their section, you might add 1 millisecond of delay per every foot they are away from the
“front row” players — so perhaps 20 ms of delay. (At sea level, sound travels approximately 1 foot/ ms.)
延迟和人性化的功能程式几乎总是在拉丝弦乐每一个声音程式页面的第一行 。这个功能程式的功
用是将时间变数添加到各个分部，divisi，使他们的声音一起演奏时听起来更自然。此外，也可以
依据物理定律添加时间变数于各个声音程式。例如，如果想将分部的一部分设置?该区域的“后
排”乐师，则依据他们与 “前排”的距离可以每英尺延迟1毫秒 – 即大致是20毫秒的延迟。
（在海平面上，音速约每毫秒1英尺）。
You can also add randomizations (item 3) of the timing of the MIDI performance to add variations
between the patches...this also adds a “human” element to the performance.
也可以添加随机化的时间变数（见下面第3项）于MIDI的演奏中以增加声音程式间的不同......这
也增加了演出的‘人性化’。
1. Auto Arranger and Delay and Humanization (DNH) menu — This menu allows you to choose
between the Auto Arranger or Delay and Humanization portion of the script that you want to see and
edit.
‘自动编曲’和‘延迟和人性化’（DNH）选项表， Auto Arranger and Delay and Humanization
(DNH) menu - 用这个选项表选择‘自动编曲’或‘延迟和人性化’的功能程式。
2. Delay Display — This window shows you how much each sample is delayed when you play it. It
takes into account the actual delay and the random timing added or subtracted to the delay. ms delay
— This is the input field where you can enter how many milliseconds delay you’d like for the patch.
延迟毫秒数显示 - 该窗口显示每个样本被延迟毫秒数，包括设置的延迟和随机化的延迟。
延迟毫秒，ms delay - 这是‘设置的延迟’的输入框，单位是毫秒。
3. Rnd ms — This is the input field where you enter how much variance there is to the delay. The
value has to be smaller than the ms delay value (the script takes care of this). For example, if you have a
delay setting of 30 ms, and a Rnd ms setting of 10 ms, the note may be delayed anywhere between 20
to 40 ms. The math is basically 30ms +/- 10 ms = 20-40ms — depending on what the randomly-
generated value is.
随机毫秒，Rnd ms - 这是随机的延迟的输入框。该值必须小于‘延迟毫秒’值，（功能程式自动
检验这项要求 ）。例如，如果设置的延迟是30毫秒，随机的延迟是10毫秒，则实际的延迟将在
20到40毫秒之间，也就是30毫秒加上10毫秒乘上一个随机产生的-1到1之间的值。
4. Disable/Enable — This is like a bypass button. Most of the helper scripts are set to “disabled” by
default. It is up to you to decide if you want to activate them within Kontakt Sampler (again, you don’t
have access to these features in Kontakt Player).
停用/启用 - 这是一个旁路按钮(开关)。
大部分的辅助功能程式，helper scripts，的默认设置是“停用”。这些设置在Kontakt采样器，
Kontakt Sampler，中可以被改变（但是这些功能在Kontakt播放器，Kontakt Player，中不可以改
变）。
5. On/Off CC Assignment — This menu lets you choose what CC you’d like to use to remotely turn
On/Off the DNH script. As with all CC selections, please make sure you do not choose a CC that is being
used by something else in the patch or else you will have “CC conflicts”.
开/关CC，On/Off CC - 选择一个CC用来遥控‘延迟和人性化’的功能程式。如同所有的CC选择，
应确认没选择已被声音程式选用的CC，否则将有“CC冲突”。
6. DD Delay On/Off — This button allows you to delay your CC performance in addition to your
notes (as opposed to just the notes) so your swells and dynamics will also be delayed.
CC延迟开/关，CC Delay On/Off - 选择，当须有延迟的效果时，除了音符外是否也延迟CC控制的
效果的表现? ‘开’，‘ON’表示其他效果，例如骤升和力度，也将被推迟。
7. CC Re-route Enable Buttons — These buttons will turn ON/OFF the CC routing portion of the
script. Once engaged, you can assign a new CC which will be routed in place of the old CC (see item 8).
CC重设按钮， Re-Route CC - 这些按钮用来开/关功能程式中的CC设置功能。一旦启用，可以重设
新的CC以代替旧的CC（参看下面项目8）。
8. CC Re-route Entry Fields — These numeric entry fields allow you to choose a CC number that
replaces the CC number displayed on the right-hand-side of the field.
CC重设栏 - 右手边显示的CC号码将被取代。
?
CC Table Script CC表功能程式
The CC Table script is where you can change the way any sustain patches responds to the Mod Wheel
(CC1).
CC表功能程式是用来改变调制轮，Mod Wheel，（CC1）如何影响延续声音程式，sustain patch。
Note: You can always go back to the default curves we programmed by choosing “Default” in the CC
Curves Preset Menu (item 3).
注：通过在CC曲线预设选项表，（下面第3项），选择“默认”，可以随时返回预定的默认曲
线。
1. Load / Save menu –– This menu lets you save presets that you can then load into other patches.
Also consider using the ARC to apply the same changes to many patches.
加载/保存选项表 - 此选项表用来保存预设，保存的预设可以加载到其他的声音程式。如需要在许
多声音程式上作同样的更改时，也可以考虑使用ARC（Audiobro Remote Control）。
2. Dynamic Layers and Layer Volume — This menu brings you to either the Dynamic Layers Table
or the Volume Table.
力度层与层音量 - - 此选项表用来打开力度层表，Dynamic Layers，或层音量表，Volume。
3. CC Curve Presets Menu — This menu allows you to save the Dynamic Layers Table and the
Volume Table to any one of 10 presets .
CC曲线预置选项表 - 此选项表用来保存力度层表和层音量表到10个预设中的任何一个。
4. Dynamic Layers Table — In this table you decide what dynamic layers (ppp, mp, f, ffff) are heard
at specific CC1 values. You’ll notice in the top table there are three yellow horizontal lines spanning the
table and creating four tiers. These four tiers roughly divide the table to illustrate the approximate
ranges where the different dynamics are heard. For example, if you drew a table where all the bars were
in the ppp tier, then no matter what range your CC1 would be at, you’d hear only the ppp layer. This is
convenient when you want to alter the CC1 playback response of certain dynamic groups.
力度层表 - 这个表用来决定那个力度层（ppp, mp, f, ffff）对应于那个CC1的值。在上面的力度层
表的例子中有三条黄色的水平线将表分成四层。这四个层次大致代表四个力度，整个表说明了那
个力度大致相应于那段CC1的值。举例来?，如果表中所有的直条都在ppp层，那么无论CC1值
在什么范围，只有ppp层可以听到。当想改变CC1对某些力度组合的播放响应，playback
response，时，这功能非常有用。
5. % CC Button and CC Attenuation Knob –– This allows you to reduce the dynamics of a passage
by turning the knob down. This is useful if you like your dynamics but you just want to lower them by a
certain percentage. The button turns the functionality On/Off.
％CC旋钮和CC衰减，CC Attenuation，键 - 转动％CC旋钮，可以降低乐段的力度。如果想按一
定比例降低一组力度组合，这个功能是非常有用的。CC衰减键 用来开关这项功能。
6. CC Curve Knob — Turning this knob allows you to choose from a variety of curves as opposed to
drawing in your own curves as described in items 5 and 6.
CC曲线旋钮 - 转动此旋钮可以选择多种曲线，而不需手工输入曲线如上所述。
7. Smooth Button — This button will smooth whatever curve is showing. You can use it multiple
times to increase smoothing.
平滑, Smooth,按钮 - 此按钮增加显示的曲线的平滑度。可以重复使用。
8. Volume Table — In this table you basically draw the shape of the volume curve you want for the
patch. When used in conjunction with the Dynamic Layers Table, you have total control over which
dynamic layers are played at what volumes.
层音量表 - 这个表用来设置声音程式的音量曲线的形状。当与力度层表一起使用时，可以完全控
制每个力度层的音量。
?
Tuning Tools 调音工具
The Tuning Tools script gives you the control to de-tune any note or groups of notes by as much as a
minor 3rd (300 cents) as well as develop micro-tonal scales. This was mainly designed to give each divisi
section a little variety (tuning- wise) by drawing a curve in the tuning table and adding some
randomization to the tuning each time a note is played. I can’t emphasize enough how much this feature
can change the character of a string section sound.
调音工具功能程式用来调整任何音符或和弦，调整幅度至多可以达到一个小三度，minor 3rd，
（300分，300 cents），也可用来创建一个微音音阶（micro-tonal scale）。这功能主要是要给每
个分部，divisi，音调上有些小变化，每一个音符演奏时增加了一些随机的调整。作者认?这个功
能可以深刻地改变一个弦乐部声音的特色。
By default, this script is left as “Bypassed” (item 4). But I highly recommend that you familiarize yourself
with this script and experiment. I’ve found that by tuning the different divisi sections apart from each
other (subtly — 10 cents or so) that it somehow emphasizes the vibrato in each of the sections. For
example, if you leave the divisi A section alone, but add about 10 cents to the divisi B and -10 cents to
the divisi C... and have a little randomization (items 5 and 6), then a special magic starts to happen. It
can be subtle, but when applied to all the string sections, it can have a wonderful effect on the sound.
这个功能程式的默认状况是‘不使用’（见下面第4项）。但建议使用者熟悉这个功能程式并做
些试验。建议试试，调整不同的分部，divisi，使其分开（稍微地 – 10分，10 cents，左右），则
每个部分的颤音可以被突显出来。例如，第一分部，divisi A ，没有变动，但增加了约10分至第
二分部，divisi B，减少约10分到第三分部，divisi C ...每分部都加入一点点随机变动，则一个奇妙
的作用将发生。这作用是微妙的，但是当应用到所有的弦乐部分时，产生的效果是非常好的。
1. Load / Save menu –– This menu lets you save presets that you can then load into other patches.
Also consider using the ARC to apply the same changes to many patches.
加载/保存，Load / Save，选项表 - 此选项表用来保存预设，保存的预设可以加载到其他的声音程
式。如需要在许多声音程式上作同样的更改时，也可以考虑使用ARC（Audiobro Remote Control）。
2. Range Tuning / Micro Tuning –– Click on either heading to choose which table to show: Range
Tuning or Micro Tuning.
范围调整/微调，Range Tuning / Micro Tuning - 点击任一标题来选择显示哪个表：范围调整，
Range Tuning，或微调，Micro Tuning。
3. Preset — You can save up to 5 presets in persistent memory in this drop-down menu. Each
preset saves all the settings and each setting can be assigned to a Key Switch (item 8). Make sure you
save the patch with your new settings... this way they won’t be lost when quitting out of the patch. Note:
If you save the presets within a host (Logic, Cubase etc) as long as you save your project, the tuning
settings will be saved.
预设，Preset，选项表 – 这个下拉选项表用来储存或选择5套预设，预设值储存在持久性记忆体
中。每套预设保存所有的设置值，每套预设可被分配一个对应的预设键（参见项目8）。声音程
式与设置值必须同时储存...以确保退出声音程式时，设置值不会丢失。注：如果是在模拟工作室，
Logic, Cubase等，中，调整设置，tuning settings，会和项目，project，一起储存。
（译者：我加了项目4，从项目3分出来，以使项目数与例图中的数目吻合，原文中的项目4变
成这里的项目5，项目5变成项目6，等等.）
4. Tuning On/Off — This button tells you the state of the Tuning script and is updated when you
use CC90 (assigned to control the Bypass button by default). You can also click this parameter with the
mouse button.
调音，Tuning，开/关 - 这个按钮显示调音，Tuning，功能程式的状态，该状态可用CC90更新，
也可以用滑鼠点击此按钮。
5. Tuning Table — This is where you can draw a tuning curve. The center line = 0 cents and the top
of the table is +50 cents, whereas the bottom of the table is -50 cents. Sometimes string players play a
little sharp when playing in the extreme upper registers... this can be drawn into the table and can help
maintain that “human sound”. You can also make the strings sound like a group of drunken sailors by
using exaggerated tuning values in the table.
调音表，Tuning Table - 用来设置调音量。中心线是 0分，表的顶部是50分，而表的底部是-50分。
弦乐乐师有时在极端高音处演奏得稍微尖锐些......这现象可以在表中记录下来，以帮助保持这种
“人的声音”。采用夸张的调整值也可以使弦乐部表现得像一群醉酒的水手在表演。
6. Tuning CC –– This CC (default set to CC 3 but is user definable) lets you ride (in real-time) the
amount the tuning tables affect the patch’s tuning. This can range from subtle to sounding like an
aleatoric string effect.
调整CC, Tuning CC - 这个CC（默认设置为CC3，但使用者可自行设置）用来实时调整调音表的设
置值对声音程式中音符的影响。这影响可以从细微到突然。（译者：项目6显示那个CC执行这
个功能，项目13显示调整量。）
7. CC Byp — This is the input field that allows you to choose the CC to control the Bypass button on
the Tuning Script. The default is 90.
旁路按钮CC，CC Byp - 输入框，用来选择开关调音，Tuning，功能程式的CC。默认值是90。
8. Preset — You can save up to 5 presets in this drop-down menu. Each preset saves the tuning
table’s values, plus the RND Hi and RND Low settings.
预设键， KEYSWITCH - 在这个下拉选项表中可以储存5个预设。每个预设保存调音表中的值，再
加上随机高，RND Hi，和随机低，RND Low，的设置值。（后两项，参看下文。）
9. Note Activity — This window displays what note you are playing. When the Script is Active (item
8), then you’ll see the bottom table “light up” as you play. This helps you in gauging which notes you
want to tune. NOTE: When an A.M.G. script is active, you will see alternate notes in the lower table
being triggered. Bypass the A.M.G. script so that you can reliably see what you are doing while drawing
your curves.
正在演奏的音符表 - 显示正在演奏的音符。若调音表功能是开?着（参看项目8），则演奏时这
个表会 “亮”起来，（参看例图中这个表的位置）。这表有助于衡量哪些音符需要调整。注：当
A.M.G. 功能是开?着时，表中音符会交替地被触发。要避免此现象，需关闭A.M.G. 功能，这样就
可以准确地看到调音表中的设置值的影响。
10. Clear — This clears the table so that you have a “clean slate” to start from.
清除 , Clear - 清除表中现有?涵，从新开始。
11. Shift knob –– This knob lets you “shift” your tuning changes up or down the range of the
instrument. This can be very useful when considering other patches’ settings.
转换，Shift，旋钮 - 这个旋钮用来向上或向下“转换” 调音表的设置值在乐器音域中的位置。当
必须配合其他声音程式的设置时，这功能是非常有用的。
12. Max Tune menu –– This menu lets you choose the range of the table: 50 cents through 300
cents. (1/4 tone to minor 3rd).
最大调音量选项表 - 此选项表用来选择最大调音量： 从50分（1/4音，1/4 tone）到300分（小
三度，minor 3rd）。
13. Tune Amt knob –– This knob (default set to CC 3 but is user definable) lets you ride (in real-time)
the amount the tuning tables affect the patch’s tuning. This can range from subtle to sounding like an
aleatoric string effect.
音高调整量旋钮, Tune Amt knob - 这个旋钮（默认设置为CC3，但使用者可自行设置）用来实时
调整调音表的设置值对声音程式中音符的影响。这影响可以从细微到突然。（译者：项目6显示
那个CC执行这个功能，项目13显示调整量。）
14. Rnd Hi — In this input field you can control the range of a positive random number range being
added to the table’s tuning values. In this case, the Rnd Hi shows a value of 6. That means there will be a
random pitch tuning of never more than 6 cents above the actual Tuning Table.
随机高，RND Hi - 在此栏输入一个正值，一个小于此值的随机正数将被添加到调音表的设置值上。
在例图中，随机高，RND Hi 为6，意味着将有不超过6分的随机调高加到调音表的设置值上。
15. Rnd Low — In this input field you can control the range of a negative random number range
being added to the table’s tuning values. In this case the Rnd Low shows a value of -5. That means there
will be a random pitch tuning of never more than 5 cents below the actual Tuning Table.
随机低，RND Low - 在此栏输入一个负值，一个大于此值的随机负数将被添加到调音表的设置值上。
在例图中，随机低，RND Low为-5，意味着将有不超过5分的随机调低加到调音表的设置值。
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Micro Tuning Table 微调表
This table lets you create micro-tonal scales that repeat across every octave. You can get very creative
by doing drastic tuning and using the CC3 (tuning amount) to create aleatoric sounds (string effects)
even with regular patches. The pattern you draw here is repeated exactly the same way on every octave,
thereby creating a repeated “micro-tonal scale”.
使用这工具可以创建一个微音音阶（micro-tonal scale）在每个八度重复。即使仅用正规的声音程
式，也可以很有创意地通过强烈的调音，及使用CC3（控制调整量），来创建随机的声音（所谓
音弦效果）。在这里设置的样板以相同的方式在每个八度重复，从而产生重复的“微音音阶”。
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LASS Impulse Responses (IRs) 拉丝弦乐脉冲
响应（IRs）
LA Scoring Strings contains a variety of impulse response reverbs (located in the “Samples” folder of the
library) and early reflections that were carefully created exclusively for LA Scoring Strings by IR guru and
veteran Ernest Cholakis. His reverb and early reflection IRs have been used by some of Hollywood’s
greatest composers and have found their way into countless movies. You can read more about Ernest
here: www.numericalsound.com
拉丝弦乐包含了许多“脉冲响应”， impulse response，混响样品（位于乐库的“样本”文件夹
中），以及“早期反射”，early reflection，样品，后者是由“脉冲响应” 资深大师欧内斯特，
Ernest Cholakis，专为拉丝弦乐仔细创建。他的混响和早期反射的作品已被一些好莱坞最伟大的作
曲家应用于无数的电影中。在：www.numericalsound.com 可以阅读更多关于欧内斯特的资料。
These carefully created IRs are designed specifically to work with LASS. By analyzing LASS in his own
proprietary way, Ernest was able to develop IRs that react with LASS in ways that ordinary IRs simply
cannot.
这些精心打造的脉冲响应是专门为 拉丝弦乐设计的。欧内斯特通过他专有的方式分析拉丝弦乐，
开发与拉丝弦乐反应良好的脉冲响应，这是一般脉冲响应样品库无法作到的。
Although LASS was recorded on a large scoring stage with a good amount of “air”, some may want more
of a “hall” early reflection sound rather than a “scoring stage” sound (which is rather controlled and dry
by comparison). With the included LASS IRs, this can be achieved.
拉丝弦乐是在一个大的录音台上录制的，虽然场地有良好的空间感，有些运用可能需要更多的
“大厅”的早期反射声，而不是一个“录音台”的声音（录音台的声音显得被过度控制，比较没
有味道）。使用拉丝弦乐脉冲响应，这些需求是可以实现的。
The IRs are divided into 2 types: ERs (early reflections) and Tails. ERs are meant to provide you with the
initial reverb reflections within closer proximity of the players. These are great for “pushing” the players
further back in mix. The Tails are more for the longer overall “bloom” reverberation of the hall and have
no early reflections. There are no “rules” to using reverbs. Just use your ears... if it sounds good... it IS
good. Try experimenting by adding Pre Delay to the Tails.
拉丝弦乐脉冲响应分为两种类型：早期反射，ER，和尾音，Tail。早期反射提供由更接近乐器的环
境产生的最初的混响反射。这些适用于促使乐器与环境更多的融合。尾音则提供大厅产生的较久
的“水花”似的混响，而没有早期反射。使用混响没有“规则”。用你的耳朵...如果听起来不
错......就是好。也可以试试添加“预延”，Pre Delay，到尾音。
As was mentioned before, the LASS ERs and Tails are intended to be used in a separate Convolution
Reverb software outside of Kontakt. Otherwise, you may use too much of Kontakt’s (and the host
computer’s) resources.
正如之前所提到的，拉丝弦乐脉冲响应程式的设计是要用于独立的回旋混响软件（Convolution
Reverb software）中，?以应在Kontakt，拉丝弦乐乐库浏览器，之外使用。否则，可能会使用太
多Kontakt（和主机）的资源。
IR Name IR 名称
Description 描述
LASS ER A through G
拉丝弦乐早期反射A到G
These early reflections (48k / 24 bit) all have 5 different lengths:
long, med-long, medium, med-short and short. The difference
between the A through G are in the attacks of the ERs. You’ll just
have to experiment to see which ones you prefer.
这些早期反射程式（48k / 24 bit）都有5种不同的长度：长，
中长，中，中短，短。A至G之间的区别是在程式的起始强
度。需要透过实验，看看哪一个最适合。
LASS Tail A through C
拉丝弦乐尾音A到C
These reverb tails (48k / 24 bit) all have 5 different lengths: long,
med-long, medium, med- short and short. The difference between
the A through C are mainly in the attacks of the Tails. Again, you’ll
just have to experiment to see which ones you prefer.
这些尾音程式（48k / 24 bit）都有5种不同的长度：长，中
长，中，中短，短。A至C之间的区别是在程式的起始强度。
需要透过实验，看看哪一个最适合。
There are also “Clear” and “Dark” versions of all of the above mentioned IRs. They can be found in their
respective folders appended with the words “Clear” and “Dark”.
所有上述的脉冲响应程式都有“轻”，“Clear”，和“重”，“Dark”，两个版本。分别在标注着
“轻”，“Clear”，和“重”，“Dark”，的相应文件夹中。
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LASS LS 2 Multis Examples 拉丝弦乐 声音程
式合成范例
In the Multi folder, you will find a variety of pre-made LASS Multis to give you an idea of the different
patch combinations and IR (Impulse Response reverbs) uses. These are meant mainly as examples since
there are so many different ways to combine LASS patches.
在声音程式合成, Multi, 文件夹中，有多种预制的拉丝弦乐声音程式合成，示范如何组合不同的声
音程式和使用各种脉冲响应混响，IR。这些例子主要是用作示范，因为拉丝弦乐声音程式有太多
不同的组合方式。
LASS LS 2 Patch Multis: 拉丝弦乐 2 声音程式合成
Multi Name 声音程式合成名称
Explanation 解?
Sord Basses 3-Part Divisi.nkm
Sord Cellos 3-Part Divisi.nkm
Sord Vlas 3-Part Divisi.nkm
Sord Vlns I 3-Part Divisi.nkm
Sord Vlns II 3-Part Divisi.nkm
These Auto Arranger Multis all are 3 part divisi Multis...
BUT.. they also let you play in unison or 2 part with the
correct player count. All divisis of the same instrument are
on the same midi channel so you can play everything from
1 midi track in real-time。
这些自动编曲的声音程式合成都是3个分部的声音程
式合成......但.. 如使用正确的乐师数量演奏也可以作?
合奏或2个分部的声音程式合成 。因?同一乐器的所
有分部，divisi，都在相同的MIDI声道中，所以可以从
一个MIDI音轨实时演奏所有的分部。
Batman Cries Sordino (MIDI Ch 1).nkm
This Multi is inspired from the Batman Begins score
composed by Hans Zimmer and James Newton Howard.
The Auto Arranger is set up so that the violas have a
different “open” voicing compared to the violins above it.
Also, in this multi, you have a tase of LASS Full’s Shaw’s
Redemption Reverb setting.
这个声音程式合成是由电影“蝙蝠侠开始”，the
Batman Begins，的配乐（汉斯齐默和詹姆斯牛顿霍华
德作曲）所启发。自动编曲的设置使中提琴与它上面
的小提琴相比有不同的“开始”的声音，。此外，这
个声音程式合成稍稍示范了拉丝弦乐完整版的“邵氏
救赎混响”，Shaw’s Redemption Reverb，程式。
All the legato patches will be on the same MIDI channel so you can see how all the divisi instruments
blend in real-time. But again, in “real use” it would be better (and advisable) for each divisi legato patch
to have it’s own MIDI channel so as to give you the ability to write divisi parts. If you want to have all the
different divisi reside on the same MIDI channel, you may want to explore using a Full Mix patch in place
of the divisis. This will free up both RAM resources and CPU usage.
当要显示所有的分部，divisi，乐器如何实时地融合在一起时，所有的连奏声音程式将使用同一
MIDI声道。但在一般制作过程中最好是每个分部的连奏声音程式有它自己的MIDI声道，以利编
辑各别分部。如果要将所有不同分部放在同一MIDI声道，需要考虑以一个全混合，Full Mix，声
音程式替代所有的分部。这样子可以节省内存资源及CPU使用率。
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Support 产品帮助
Support for LA Scoring Strings can be accessed by joining LASS’s private support forum at:
www.audiobro.com
拉丝弦乐使用者可以通过在www.audiobro.com网站上加入拉丝弦乐的论坛，LASS’s private
support forum，取得对产品的帮助。
This forum is designed to be much more than a technical support forum. In the spirit of a Living Library,
many users participate in sharing their template and LASS ideas. Also, Tips & Tricks will be posted on an
ongoing basis. Also, you’ll need to register at the audiobro forum in order to download your patches or
any updates.
该论坛的设计是要成?不只是一个技术支持论坛。基于永续图书馆的精神，很多用户参与分享他
们的创作模板和拉丝弦乐有关的想法。提示和技巧，Tips & Tricks，也会持续公告在论坛上。请注
意，使用者需要先在audiobro论坛上注册，才可以下载更新及修补程式。?
Special Thanks 特别感谢
Last, but absolutely not least, I’d like to thank all the wonderful people who have helped me produce LA
Scoring Strings.
在此，我至诚感谢这些帮我完成制作拉丝弦乐的好人。
First, I need to thank my beautiful wife, Jennifer, who supported me throughout this entire library
process and for putting up with my crazy schedule!! She did all the design and graphics for LASS: the
website, packaging and manual. And a special “thank you” to my kids for re-energizing me and keeping
me grounded.
首先，我要感谢我美丽的妻子，珍妮弗，在这整个制作过程支持我和忍受我的疯狂的时间表！她
做了拉丝弦乐 所有的设计和图形：网站，包装和说明书，等等。非常“谢谢”我的孩子们时时激
励我，帮助我有个平衡的生活。
Thanks to Sebastian Katz for being more helpful than I could have ever dreamed and Gabor Valasek for
all his wonderful coding.
谢谢Sebastian Katz帮助，远超过我的梦想，也谢谢Gabor Valasek高明的编码。
A deep thanks to Willem Van den Broeck who helped us go through our knob design process and to
Doug Whitney at Whitney Digital who rendered our buttons.
深深感谢Willem Van den Broeck在整个旋钮的设计过程中帮助我们，也谢谢Whitney Digital 公司
的Doug Whitney制作我们的按钮。
Thanks to Mark Evans who engineered the recording sessions and for doing an amazing job of capturing
all the sections individually. His experience, ears and equipment were irreplaceable in the creation of
LASS.
感谢Mark Evans策划了录音演奏并非常完美地个别录制了所有的部分。他的经验，耳朵和设备在
创作拉丝弦乐的过程中是不可替代的。
And finally... thank YOU. Thank you for all the support and kind emails so many of you have shared
during the development of LASS.
最后...谢谢你。谢谢在拉丝弦乐的制作过程中给我们的支持和亲切的电子邮件。
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