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A User’s Guide to GARRITAN HARPS Including the ARIA™ Player Copyright © 2012 by MakeMusic Inc. All rights reserved. This guide written by: Gary Garritan Produced by: Programming: ARIA Engine Development: Document Editing: Art Direction and Graphics: Project Management: Gary Garritan Chad Beckwith, Robert Davis Plogue Art et Technologie, Inc. Jonathan Tschiggfrie, Erin Vork Scott Menk Chris Anderson, Justin Phillips Garritan Harps™ is a trademark of MakeMusic, Inc.
A USER’S GUIDE TO GARRITAN HARPS 3
CONTENTS Credits Table of Contents Welcome to Garritan Harps Garritan Harps at a Glance End User License Agreement What the Garritan Harps Package Includes Computer System Requirements Regarding Sound Cards, Audio, and MIDI Regarding Speakers, Amplification, and Headphones Regarding 64-bit Computing 2 4 6 7 9 11 12 14 15 15 INSTALLATION & ACTIVATION Installation Activation 16 17 19 ARIA PLAYER BASICS Navigating the ARIA Player Interface Using the ARIA Player 21 22 24 ABOUT THE HARP A Brief Overview of
ENSEMBLE PRESETS 65 DIRECTORY OF HARP PATCHES 68 ADDENDUM Getting Started Getting Support Updating Your Software Acknowledgments The Garritan Community Additional Garritan Sound Libraries 72 73 73 73 74 76 77 User’s Guide to Garritan Harps 5
WELCOME TO GARRITAN HARPS The harp is known as the instrument of heaven and angels and deservedly so. It is as perfect an instrument as there is on this earth. It is one of the oldest instruments dating back to antiquity. The harp holds a special place in my heart. From early childhood I wanted to play the harp after seeing Harpo Marx play in a movie. When a harp teacher moved to the area, I had the opportunity to begin lessons and thus my love affair with the instrument grew every day.
GARRITAN HARPS AT A GLANCE Thank you for choosing Garritan Harps. The following summary presents some of the outstanding features of Garritan Harps: First and foremost, the pure and pristine sound of the harp — The harp featured in Garritan Harps is one of a kind and unique. Each string of two Salvi pedal harps was recorded separately with a piezoelectric sensor (RMC Pickup Co.) on each string. Each string was sampled for the entire life of its natural decay.
Universal Format — You can play great-sounding harp music as a standalone application, as a plug-in with your sequencer, or directly from the score within your notation program. Garritan Harps supports all popular plug-in formats (VST, Audio Units, and Pro Tools RTAS) on both Mac and Windows. Suited for Every Musician — This collection brings the glorious and soothing sounds of the harp into your studio, place of worship, rehearsal room, or home at a fraction of the cost and takes up far less room.
END USER LICENSE AGREEMENT Please read the terms of the following software licensing agreement before using this software. By installing and loading these products on your computer you acknowledge that you have read this license agreement, understand the agreement, and agree to its terms and conditions. If you do not agree to these terms and conditions, do not install or use the sounds contained herein. This is the complete agreement between you and MakeMusic, Inc.
“The harp is to music … what music is to life.
WHAT THE GARRITAN HARPS PACKAGE INCLUDES This Garritan Harps library includes the following: The “Garritan ARIA Player” installer file that contains the ARIA Player software and the ARIA User’s Manual in PDF form. The “Garritan Harps” installer file that contains the Garritan Harps sample library and Garritan Harps User’s Guide in PDF form. If you have not received an activation key card by e-mail, a unique serial number is provided so that you can register the product and receive a key card.
means can harp performance and technique be taught from this or any other manual. Individual study and research will enhance your ability to use this library. This manual is provided in digital form as an Adobe Acrobat document file (also known as a PDF) that can be viewed on a computer display or tablet computer, or it can be printed. If you do not have the Adobe Acrobat Reader, it is available free from www.adobe.com. A digital manual is eco-friendly and can be easily updated.
COMPUTER SYSTEM REQUIREMENTS Computer Operating System Hardware Windows PC Microsoft Windows 7 Core 2 Duo CPU or later recommended. Microsoft Windows Vista 2 GB RAM recommended. There is a direct correlation between the amount of available RAM and the number Microsoft Windows XP of sounds that can be loaded. (SP3 required) 4 GB of free hard drive space. Hard drive speed of at least 7200 RPM recommended. Internet connection for updates and online registration.
REGARDING SOUND CARDS, AUDIO & MIDI INTERFACES The quality of your audio interface will have a significant effect on the quality of the sound you will hear from Garritan Harps. It will also have a substantial effect on performance (both latency and polyphony). Therefore, a good sound card is one of the most important components in optimizing the sound and performance of Garritan Harps.
REGARDING SPEAKERS, AMPLIFICATION, AND HEADPHONES The combined quality of your audio amplifier and speakers is extremely important; there is little point in expending a great deal on a high-end computer system and audio interface but using inferior personal computer speakers. Good quality speakers or headphones are important for faithfully reproducing the sound of a virtual harp. The pedal harp has a wide dynamic rage, and can span up to six and a half octaves.
INSTALLATION AND ACTIVATION 16
INSTALLATION Below is a quick reference for installing Garritan Harps. For a complete guide to installing the ARIA Player, please refer to the separate ARIA User’s Guide included with Garritan Harps. Installing Garritan Harps is a three-part process: 3 STEPS FOR INSTALLING GARRITAN HARPS: Step 1. ARIA Installation Step 2. Sample Library Installation Step 3. Activation Installing the ARIA Player and the sample library are separate processes. ARIA is installed first, followed by the Garritan Harps library.
Once you have selected your installation options, you can specify which parts of the sample library you want installed. We recommend you install the entire library. At this point, you can sit back and let the installer do the work. If you have the download version, you can delete the extraction folder once Garritan Harps is successfully installed. Before doing so, however, we suggest you make a backup copy of the installation zip file and put it in a safe place.
ACTIVATION After the sample library has been installed, it must be activated. You have 30 days from the time you install the library before activation is required. Garritan Harps features an innovative drag and drop authorization system. Click Generate Key Cards and login to your account. If you don’t already have an account, create a new account to be able to generate your key card. Log in with your e-mail address and password.
On the following screen, right-click (Windows) or CONTROL+click (Mac) on the key card and choose Save As. Save the key card PNG to your desktop. Launch the ARIA Player in standalone mode. Click and drag the key card PNG icon from the desktop onto the ARIA Player screen. A message will appear indicating that Garritan Harps has been activated. You can transfer your key card PNG image file to a flash drive if your music computer does not have Internet access.
ARIA PLAYER BASICS 21
NAVIGATING THE ARIA PLAYER INTERFACE 1. The active instrument light shows you which instrument’s parameters you are changing. Click this location on another instrument slot to change the focus of the controls. 2. The instrument display features a drop-down menu for loading instruments which appears when the field is clicked. 3. Tuning controls let you control fine tuning. 4.
8. Graphical faders give you a quick idea of an instrument’s presence in the mix. The faders respond to CC#7 commands. 9. Keyswitch window displays the active keyswitch (if keyswitches are available in the loaded instrument). 10. A keyboard shows the range of notes that can be played on that harp instrument in white, keyswitches in pink, and the selected keyswitch in beige. 11. Window tabs switch the display to the Info, Controls, Mixer, Effects, or Settings window. 12.
USING THE ARIA PLAYER Once installed and activated, you can load the instruments of Garritan Harps in the ARIA Player. There are several ways to use Garritan Harps with the ARIA Player: you can play it “live” as a standalone application or as a plug-in within a sequencer or notation program. USING ARIA AS A STANDALONE If you have installed the standalone version of the ARIA Player, you can find it in your Applications folder (Mac) or Start menu (Windows).
VST plug-in configuration menu, ensure that the installation directory that you specified is included in the list of VST directories. You may need to re-scan the folders to have ARIA Player VST appear in the list of software instruments. From there, just load the ARIA Player and go! You will find the VST listed as ARIA Player VST.dll, which contains a single stereo output, and ARIA Player Multi VST.dll, which allows you to assign up to 16 stereo outputs.
ABOUT THE HARP 26
A BRIEF OVERVIEW OF THE HARP Harps are one of the oldest and most recognized instruments. The harp is a multi-stringed instrument that is typically played by plucking with the thumb and fingers. There is no such thing as a “standard” harp and they come in many sizes and varieties. The most common types of harps are the concert pedal harp and nonpedal harps. The concert pedal harp is the type of harp many people are most familiar with, as it is often seen in a symphony orchestra.
Concert pedal harps typically have 47 strings, or six-and-one-half octaves, nearly the range of the piano. The lowest string is a C, just three notes above the piano’s lowest A. The highest string is a G, just four notes below the piano’s highest C. The average concert pedal harp has a height of approximately six feet and can weigh as much as 90 pounds; the pressure exerted by the strings on the soundboard of a concert pedal harp can be as much as 4,400 pounds.
PARTS OF A HARP The above illustration labels the parts of a pedal harp. The parts of a non-pedal harp are similar except that sharping levers are used instead of pedals. Crown - The crown is situated at the top of the harp and rests atop the pillar. It is in the shape of a crown, hence its name. Tuning Pins - The tuning pins are tapered metal pins that go through the neck of the harp and fasten the strings to the instrument.
Soundboard - The soundboard is the flat surface of the soundbox located on the string-side of the harp. Soundboards require a high-quality wood such as Sitka spruce, which expert luthiers believe provides the best tone to the harp. Shoulder - This is the curved part of the harp that connects the neck to the soundbox. The shoulder of the harp rests near the harpist’s right shoulder with the right arm wrapping around the instrument.
Pedaling allows the harpist to change keys reasonably quickly, but composers and arrangers should allow extra time for pedal changes before the new notes are required, especially if there are several simultaneous pedal changes. Harpists must remember to check the pedal positions before tuning, and then tune the harp in the desired key. LEVERS (FOLK HARPS) Lever harps, or folk harps, are small to medium-sized harps with limited chromatic capabilities.
Glisses can be diatonic or enharmonic. A diatonic glissando is played using all the notes of the scale of a given key. An enharmonic glissando is intended to suggest a particular chord. With the use of the pedals, the harpist can double certain notes and eliminate clashing notes in order to produce a compatible chord for the glissando. Garritan Harps has a variety of options for playing glisses. It is our hope this library takes away some of the anxiety and makes harp glisses more accessible.
Chords and Arpeggios A chord is the sounding of more than one note simultaneously, similar to playing a chord on a piano. An eight-note chord is the largest chord possible, as a pedal harpist plays with only four fingers per hand. The range of the chord is also limited to the span of the harpist’s hand, which typically ranges from an octave to an octave and a fourth. Arpeggios are chords where the notes are played in succession rather than plucked simultaneously.
NOTATING FOR HARP Harp parts are notated on the grand staff, with the right hand playing in the treble clef and the left hand playing in the bass clef, similar to a piano. Harpists generally play with four fingers of each hand and the little finger is rarely used. Therefore, a maximum of eight simultaneous notes are written for the harpist. Harp music often indicates whether the right or left hand plays the notes. This is noted as m.d. for the right hand and m.g. for the left hand.
A BRIEF HISTORY OF THE HARP The history of the harp goes back thousands of years. The harp is the oldest known stringed instrument. The piano, the guitar, the violin and all other string instruments evolved from the harp. Throughout the ages, the harp has had an impact on almost every culture. Harps have been regarded as sacred and have been instrumental in the healing process, in the celebration of birth, as comfort in passing, and to make people feel better.
ANCIENT EGYPT Of all the musical instruments in ancient Egypt, hieroglyphics seem to show that the harp was the most popular. Some of the earliest depictions of Egyptian harps are from the tombs of the Pharaohs, dated to around 5,000 years ago. Music played a great part in ancient Egyptian life. They regarded musical instruments and music itself as originating from the gods. Harps were used in harp ensembles, in festivities and banquets, in funerals and in temple worship.
the 3rd or 4th millennium BCE was discovered in Megiddo that depicts a man playing a frame harp known as a nevel. Legend has it that the sound of the nevel was so sweet that when all the other musical instruments heard it they became ashamed. In the Bible, Jubal was “the ancestor of all who play the harp” (Genesis 4:21), and it is mentioned that King David was “skilled in playing the harp”, playing it as a shepherd while sitting in the fields and composing his psalms.
of playing musical instruments to be a principal part of learning. The lyre harp lent itself nicely to these Greek ideals and later became the most popular instrument in Ancient Greece. The classic Greek lyre harp was the kithara, which was a term used for describing all kinds of harps and lyres. Our modern word guitar comes from the word kithara.
ANCIENT ASIA Meanwhile, further east in Asia, the development and use of the harp flourished as the Chinese developed elaborate instrumental orchestras that included harps. Ancient Chinese writers speak of the number of strings on musical instruments decreasing to help prevent arousing the dangerous depths of the soul. In the works of Confucius (551–479 BCE) many instruments are described, including harp-like instruments. Confucianism spoke of music which “soothed the savage breast”.
the “Om”. Then seven notes were born from the five faces of Shiva. India later developed more notes and the harps were built to accommodate these notes. The Bharata Natyam, written in the second century BCE, described the octave and divided it into 22 notes. This was discovered while playing the yazh harp and developed the basis of the quarter tone scale which survives today. Instruments like the sitar and tambura evolved from the yazh, becoming the popular stringed instruments of India today.
Beginning around the 13th century, when feudalism reached its height, the troubadours began appearing. They would pluck their harps and sing their graceful melodies and advance the cause of chivalry. European harpers earned their living by moving from town to town, using small harps for self-accompanied singing and storytelling, as well as in instrumental consorts.
Records from the 15th century show that both the terms harp and clàrsach were in use at about the same time and seemed to have denoted a distinction between the gut-strung European-style harp and the wirestrung Gaelic clàrsach. The earliest surviving harps from Scotland and Ireland date to approximately the 15th century. The characteristic shape of an Irish harp is familiar from Irish coins and bottles of Guinness Beer.
There are many kinds of harps in Latin America, including the Mexican harp and two different Venezuelan harps, arpa mirandina and arpa llanera (harp of the plains). Almost all South American countries have their own versions of harps. In construction and playing techniques, these harps are quite different from the traditional European harps. They are made of thin wood (cedar and pine) and are much lighter than the European harp.
Another solution to the harp’s note limitations was to take the existing seven diatonic notes and change the pitch of selected strings to get sharps and flats. Hooks were first used in Tirol in southern Austria in the 17th century to sharp individual notes by hand. One drawback of the hooked harp was that a performer temporarily lost the use of the hand for plucking while making these adjustments. Although these attempts were forward leaps, they also made the harp difficult and awkward to play.
perform the new music of Debussy, Ravel, Gershwin and other contemporary composers. Piano repertoire continued to grow and the number of pieces for harp dwindled. Ragtime became the newest rage and many wanted to play piano. The harp enjoyed some renewed interest when Harpo Marx, the self-taught harpplaying mute of the Marx Brothers, brought the harp to the silver screen. Harpo was an incredible harpist (and my inspiration to play the harp).
THE ELECTRONIC MIDI HARP AND THE GIGAHARP Although the traditional harp and Celtic harps were again gaining popularity, the harp had not changed much in nearly 200 years. Rapid advances in technology were made in keyboards and guitars, yet few changes were made with the harp: the technological revolution seemed to have left the harp behind.
“The harp will always be the instrument of heaven.
PLAYING GARRITAN HARPS 48
LOADING INSTRUMENTS With Garritan Harps it is possible to start making music within moments after installing the library. Some of the concepts/controls presented here are different than those found on a typical harp and may be unfamiliar at first. This may be more challenging for the professional harpist, but the controls of Garritan Harps are easy to master and offer some additional capabilities. Harp patches are selected and loaded into instrument slots.
Manually Load Instruments into Slots: Click the instrument slot in the ARIA Player to select the Harps instrument patches. Select empty to remove an assigned patch from a channel and choose reload to restore the default parameter settings for that patch. The patches are grouped in a simple hierarchical menu by sample library. You can choose your Harps patches by instrument: Salvi Pedal Harp 1, Salvi Pedal Harp 2, Venus Concert Grand 1, Venus Concert Grand 2, Lyon & Healy Harp, and Gliss Harps.
MAKING SOUNDS Once installed and activated, you can load Garritan Harps into the ARIA Player. Garritan Harps includes an extensive array of orchestral instruments, playing techniques, and playback effects. You can play these instruments: 1. 2. 3. 4. By using the virtual on-screen keyboard in the ARIA Player, By connecting a MIDI-compatible keyboard to your computer, As a plug-in in your sequencer, or In a supported notation program (such as Finale®). 1.
recording ability is limited and you cannot edit your performance (though you can use various audio software programs for this). To launch Garritan Harps as a standalone program, double-click on the ARIA Player icon on your desktop or launch it from your Applications folder (Mac) or Start menu (Windows). If your keyboard is a USB MIDI keyboard, simply connect the music keyboard to your computer using a USB cable.
settings are saved together with the song files and are totally retained and recalled upon reload. Garritan Harps supports VST, Audio Units, and RTAS plug-in formats. Each music software program has its own approach to handling virtual instrument plug-ins. Each has its own installation method and means of loading and accessing plug-ins.
4. USING GARRITAN HARPS IN NOTATION PROGRAMS Notation is a fundamental part of music creation. Notation programs such as Finale allow you to easily create and print sheet music and play back your score with your computer. Garritan has a long history of pioneering the use of notation software programs with samples. Garritan Harps can be used directly from within Finale (or other notation programs that are capable of hosting virtual instrument plug-ins).
CONTROLS VELOCITY (CC#12) This control sets the current velocity amplitude tracking depth. Higher values will increase the amount of depth that the current amplitude envelopes have on the triggered notes. With a higher depth setting lower velocities will be naturally softer in amplitude, and higher velocities will have reached the maximum amplitude values. Lower velocity settings will result in all velocity input having close to the sample amplitude regardless of input velocity values.
SOFT (CC#74) Use this control to soften the character of your harp. It works well as a controllable MIDI CC, so that the harp can take on a brighter and darker character throughout the performance and movement of a piece. AGGRESSIVE (CC#81) Use this control to add more forcefulness and ‘grit’ to the attack of the harps. It utilizes the ARIA Player’s saturation effect to alter the attack transients.
The slider for each pedal responds to the values in the following table: SLIDER POSITION VALUES Double-flat Flat Natural Sharp Double-sharp 0–25 26–51 52–76 77–101 102–127 STEREO STAGE CONTROL When Stereo Stage is turned off, instruments can be panned from left to right in the usual way, positioning them left to right by relative left/right volume intensity only.
TIMBRE (EQ) CONTROLS Controlling timbre/EQ enables you to produce a clearer sound. When many instruments are added and played at once, the sound can become muddy. Judicious mixing and EQ can reduce sonic clutter so that combinations have better clarity and transparency, creating breathing room for the voices, so parts can be heard distinctly and clearly. In addition, the EQ controls can extend tonal range and allow better matching of sounds across the various harp patches.
MIDI CONTROLLER QUICK REFERENCE MANUAL CONTROLS MIDI CC# DESCRIPTION Volume 7 Controls the overall presence of the loaded instrument in the mix. The instrument fader is located on the Mixer window. Pan 10 Controls the panning of the loaded instrument. The pan knob is located on the Mixer window. Velocity 12 Controls the “touch” of plucks to allow for more or less intensity by setting the width of the key velocity range. Higher values allow for greater variation in key velocity.
EFFECTS REVERBERATION Reverberation describes the phenomenon that occurs when a sound is made in an ambient space and is reflected or absorbed by the surfaces in that space. Reverb is perhaps the most widely-used audio effect, since it emulates the sound that’s heard literally everywhere around us. The ARIA Player includes two types of reverb: Ambience (algorithmic reverb) and Convolution (sampled reverb).
There are nine main controls in the Ambience control panel. The most important parameters are Decay (the time for the reverb to fade away), Size (the size of the room), and Predelay (timing of first reflection). Below is a fuller description of the controls in Ambience: • • • • • • • • • DECAY — This controls the time it takes for the reverb reflections to fade away into silence. DIFFUSION — Diffusion is the reflecting surface’s ability to spread the reverb out.
Convolution Reverb ARIA also includes an ultra-optimized convolution engine for high-quality sampled reverb which offers zero-latency processing with low CPU overhead. Just as the sounds of this library contain sampled musical instruments, the Convolution reverb was created by sampling the reverb in an actual acoustic space, such as a concert hall or cathedral, that one wouldn’t normally have an opportunity to record in.
The ARIA Player includes an impressive collection of 10 impulse responses, with an additional 7 impulse responses unique to the Garritan Harps library. Included are the glorious sounds of cathedrals, churches, well-known symphonic concert halls, and other stunning acoustic spaces. • • • • • • • • • • Chapel — Sampled reverb from a famous chapel in Cambridge, Massachusetts, USA.
SCALA FILES FOR HISTORIC TUNINGS The ARIA Player includes a control on the Settings window that provides a variety of tunings that can be imported and used with Garritan Harps. This can be useful in playing historic pieces using a tuning appropriate to the era. Differing temperaments can add extra color and warmth to the sound. Scala files can also provide detuning for more authentic sounds. The Scala file import feature enables the use of thousands of other tunings that can be found on the internet.
ENSEMBLE PRESETS 65
LOAD MULTIPLE PATCHES EASILY The Garritan Harps installation includes a folder/directory called “Ensembles” that contains a collection of useful, pre-configured ensembles for your convenience. Each ensemble preset loads a selection of instruments along with pan, level, and other settings. The Ensembles folder can be found in the Garritan installation folder. By default, this folder is located at /Garritan/ARIA Player/Presets/com.Plogue.Aria/Garritan Harps.
LOADING ENSEMBLE PRESET FILES In standalone mode there are two ways to load ensemble preset files. First, you can load them from the File menu (File > Load). Second, you can use the drag and drop method by opening the “Ensembles” folder/directory, dragging the desired ensemble preset onto the ARIA interface, and releasing the mouse button. The instruments and their configurations will load automatically.
DIRECTORY OF HARP PATCHES 68
GARRITAN HARPS PATCH LIST SALVI PEDAL HARP 1 PATCH LIST SALVI PEDAL HARP 1 Patch Name: Description: Salvi Harp 1 KS The ‘master’ patch which contains all of the articulations. The articulations can be accessed by their representative keyswitches. Salvi Harp 1 Sustain The normal (undamped) pluck articulation. This is the most common harp articulation. Salvi Harp 1 Picked A normal pluck articulation that additionally triggers the pick noise set by the controller knob on the Controls view.
VENUS CONCERT GRAND 1 PATCH LIST VENUS CONCERT GRAND 1 Patch Name: Description: Venus Harp 1 KS The ‘master’ patch which contains all of the articulations. The articulations can be accessed by their representative keyswitches. Venus Harp 1 Sustain The normal (undamped) pluck articulation. This is the most common harp articulation. Venus Harp 1 Picked A normal pluck articulation that additionally triggers the pick noise set by the controller knob on the Controls view.
LYON & HEALY HARP PATCH LIST LYON & HEALY HARP Patch Name: Description: Lyon & Healy Harp 1 KS The ‘master’ patch which contains both of the articulations. The articulations can be accessed by their representative keyswitches. Lyon & Healy Harp 1 Sustain The normal (undamped) pluck articulation. This is the most common harp articulation. Lyon & Healy Harp 1 Picked A normal pluck articulation that additionally triggers the pick noise set by the controller knob on the Controls view.
ADDENDUM 72
GETTING STARTED You can use any of the Garritan libraries on their own, for live play with a MIDI keyboard or other MIDI controller, or as a plug-in with a notation program or DAW. All of the Garritan libraries are accessed through the ARIA Player and can be used interchangeably with each other. The first step to bringing your music to life with the Garritan sounds is to learn to use the ARIA Player.
ACKNOWLEDGMENTS Producing Garritan Harps would not have been possible without the combined help, talent, and support of many extraordinary people. I am grateful to those who have been a part of this project. Many thanks to all the harpists who endured sore fingers and long sessions playing endless scales. Thanks to Heidi Soons, who played the Lyon & Healy Style 23 concert grand harp. We would also like to thank Lane Gibson, who was the engineer for the session.
file development), Hailey Dillon (Marketing Director), Chris Fischer (Inventory Analyst), Allen Fisher (Installers), Tim Fitzpatrick (Business Systems Manager), Yvonne Grover (QA Manager), Kyle Imbertson (QA and support file development), Scott Menk (Art Director), Jeff Nordquist (Notation Engineering Manager), David Olson (Business Systems), Joy Parker (Business Systems), Gary Pederson (Installers), Lori Schug (Corporate Controller), Chris Young (QA), and the rest of the MakeMusic team for all their help a
THE GARRITAN COMMUNITY LEARN, SHARE MUSIC, AND STAY UP TO DATE We invite you to join the Garritan Community! Owning Garritan Harps gives you much more than just a product. One of the most valuable benefits is membership in the Garritan community of musicians. The Garritan Forum is where Garritan users from around the world come to discuss everything related to soundware and music.
ADDITIONAL GARRITAN SOUND LIBRARIES GET MORE SOUNDS INSTANTLY AND EASILY Download sounds quickly and easily to expand your musical palette. Simply go to the Settings window in the ARIA Player and click on the “Get More Sounds” button. You’ll be taken to the Garritan Products Store, where you can purchase additional downloadable sound libraries. For information on all current Garritan libraries and upcoming products, visit our website at www.garritan.com.
