In this mode, the neutral position with no pitch change is the middle value of the knob and a value of 0. Values below 0. This is very useful for creating vibrato that doesn't have a fixed speed. As mentioned above, there is a fourth way to create vibrato only with the air flow control. The " allow vibrato with air flow " setting has to be set to yes in the preferences and you then need to perform a fast up and down variation in the air flow controller you choose.
In the preferences, you have access to a few things to control vibrato this affects all 4 modes. This can be set to some very high values that will sound very unnatural to some, but that is necessary for using some dedicated wind controllers that have a narrow CC range. Some controllers like the EWI use the pitch bend as the vibrato source, so we added the P. Bend option to the bottom of the CC list in case you want to use it for the vibrato and not bends.
A large part of what horn players play are legatos, so we spent a considerale amount of time and effort to carefully extract every little aspect, pitch changes, noises, etc.
They go from fast note changes to slow bends, with and without extra attack. We covered all that and let you choose how to control them. When you play a legato on the keyboard when you overlap two notes , our engine will automatically kill the older note and play a legato instead of a normal sustain. This is exactly what happens on a real trumpet when the air flow is continuous while the player changes the note. There are a number of ways to play these legatos and we gave you access to everything so that it can be controlled in real time.
If on the contrary the velocity is above the air flow value, it will create a quick attack. The duration of this ramp is controlled by the velocity to attack time value. Glides are often played on brass insruments, and we of course allow you to use glides, as well as choose how to can trigger them. In this mode, any velocity below the threshold value will trigger a glide and its duration will depend on how low the velocity is.
For example if the velocity is at 20, it will be a fast glide comparable to a legato time , but a velocity of 1 will trigger a slow glide at the duration of the max length value you set. In this mode, you can control the glide duration with a MIDI CC, again it will go from the Max length value when the CC is at value 1 to standard short legatos when the CC is set to value and above.
In this mode, the glide value is fixed and the glide speed can go from 50ms to ms. We added a randomize time value to give it a natural feel, just remember that when increasing the randomize value, the engine can technically receive a value below 50ms in which case it will play a slow legato. This setting works quite well with the trombones.
The quality of that bend will greatly depend on the " use advanced pitch bend value ". Just remember that using the advanced pitch bend will use more CPU even when you don't play bends.
When a brass player plays a note, legato or new note, if they are very precise, they will directly land on the correct pitch and create a very precise attack, but it is often also "missed" on purpose and a quick flutter attack then happens. You can use the Transition flutter value to control how much of this you want. If you want to, you can right click on this slider just like for any other slider and control it with a MIDI CC or a host automation. Another very important aspect of legatos is what happens during the transition.
On a trombone, there are no valves, so the transition is just air change. On valve instruments, however, there is something called half valve which happens while the valve is being pressed.
This effect can be noticed on two occasions: while playing gliding legatos or when using the pitch bend. You can control how much of that effect you want for each situation.
Recording a horn can be done in various ways and at different positions. We used 4 different microphone positions so that you can get the exact sound you want, as if you chose the microphone placement yourself. We recorded each of our instruments with 4 different microphones at 4 different positions to capture their unique sounds. And you can mix them however you like. At the top you can also change the routing, as we will explain below; we created the Virtual Space that places the instrument in a virtual environment which is technically a virtual room mic pair that you can move around.
Here, you can choose if you want the source for the virtual space to be just the close mic or a mix of the 4. We also added a 3 band EQ , which you can also decide if this will be applied to the source sound for the virtual space. You can also mix the result of the 4 microphones and the virtual mics. We added a pan and delay for each to deal with phase problems that always occur when multiple microphones are involved. You can also add impulse response reverb to the whole mix, control its decay and how much is sent from the close microphones and from the virtual space.
The amount on the mix panel is the same as on the front interface. The virtual space perfectly reproduces what a real recording of an ensemble would be using convolution.
When you record a big band, you usually place a pair of microphones in front of the musicians and they naturally take position in the stereo field depending on where they are in the room. When using this with multiple tracks, you immediately have the feeling of being in front of a real horns section.
Just using panning to place elements in the stereo field does not sound realistc as so much information is left out, so we recreated a whole room placement simulation based on impluse responses where you can set the position of the instrument in the actual room.
Since setting up an ensemble recording can be done in many different ways, regarding both musician placement and microphone pair selection, we decided to include as many possibilities as we could. You have access to 21 positions divided into 3 rows and you can select which microphone configuration you want to use ORTF, AB, XY, Binaural and MS , as well as control the stereo width for a narrow or wide section.
Mutes are part of the sound that defines horns. We recreated these using a variety of mutes and a specific experimentation process. If you want to use a Harmon, a plunger, a straight mute, a cup or a bucket, VHorns has you covered!
There are many ways to play a brass insrument, and we had to make a choice on the default settings, however many of the options can be customized to your taste.
We already detailed many features above, but here are the few that are left. Note that all of the features in the preference tab that have a small die next to them can be randomized for an even more natural performance. Randomize means that the value for that setting will be randomized for each new note between the minimum value and the value you set.
On a trombone for example, the maximum possible glide you can do is from position 7 to position 1, so 6 semitones. We allow for more than 6, but to play something natural, it's better to lower that value as technically most players will glide a maximum of 3 or 4 semitones and "cheat" the rest.
Above that value, our engine will "cheat" as well and skip some notes while still ending up on the target note. You can control how much bend you want and the attack pitch variaton time will decide how quick that ramp is. Just like for the rest, you can assign a MIDI controller to control it in real time.
Since the air flow is never always perfectly constant, the timbre and pitch vary all the time and you can control how much of each you want. This affects the tone of the instruments and can be useful to cover other instruments that have a different range.
Pitching the flugelhorn down can make it sound similar to a trombone for example. If you use the pitch and transpose at the same tome but opposite values, you will keep the correct note and only change the timbre and range. Here, you need to select the type of controller you use from that list. I never had these kinds of problems when Samplemodeling had their own player. So, are we talking about a manual for the Samplemodeling product or Kontakt?
Which manual and where is it located? When you purchase a new product, follow the directions, load the products properly and you get an error message like this something is not right. If this isn't the appropriate forum to address this question, please advise which is the correct one.
It just states the obvious see manual text below. To provide a decent question you need to first read the manual as stated. This is not a support location, but a user forum. Like a real instrument, and unlike conventional sample libraries, the Strings allow continuous transition across the dynamics from pp to ff , free from any side effects.
Please refer to the Remapping section of this manual for further details. I've googled this warning and seen suggestions to access the Kontakt "wrench" to make adjustments for this CC.
In retrospect I should have contacted the SM support directly. Somehow I missed that. They will certainly help with suggestions about how to properly use this CC and how to send it to the instruments from the external world. The Sample Modeling instruments won't work without first receiving a message from your expression controller. This is set by default to CC If you don't have a CC11 controller, you can change the default setting to CC1 your mod wheel , and when you move your mod wheel the instrument will receive the expression controller message and you'll be in business.
The instrument's Gui is rather intuitive, and the library does come with a detailed user guide. If CC11 is not connected, a warning message will be displayed. It will disappear upon receiving any CC11 data, showing that the instrument is now properly working.
Tip: Logic users, by deactivating the trumpet track will dramatically reduce the CPU load, and greatly improve the overall performance. Running the Player instead of the Sample r is also recommended. Tip: Sonar users might experience hanging notes upon stopping the playback. For further details, please refer to the Player Manual. Please note, however, that it cannot be opened or modified, and no access to the samples or impulse responses is provided.
K3 is not fully compatible with K2 programming, and you should not therefore attempt to load the standard instruments into this platform. If you do this, the instrument will be automatically opened in Kontakt 3, resulting in a compromised performance.
In that case, perform a Custom Install, then follow the instructions, and uncheck the unwanted items. Make sure, however, that the installed Player is vers. Whether a soft ballad or a powerful fanfare, a pop song or a huge orchestral arrangement - the trumpet is an indispensable instrument in a vast majority of musical styles. This proved to be the best choice to preserve the timbral characteristics of the original instrument.
We used, of course, state-of-the-art recording technique and experienced, careful microphone placement. But we went beyond. To our knowledge, this is actually the first sample-based anechoic virtual instrument. This will set you free of adding just the most suitable acoustic environment, without incurring multiple-ambience issues.
This can be carried out within the same Kontant Player, which provides a high quality convolution reverb. See Appendix 1 for details. Its beautiful, warm sound is mainly used in jazz or in brass bands, as well as in popular music. Cornet Similar to the trumpet, but more compact in shape. Its agility makes the Cornet particularly suitable for melodic passages. It is mostly used in brass-, but also in jazz bands.
All these instruments are now at your fingertips… You can really PLAY them — shaping the sound like a real trumpet player does. But please, read the manual first and learn more about how to do it in the best way. The demonstrations we prepared show how realistic our trumpet sounds.
If you want to learn more about how this has been achieved, please visit our homepage and download the demos we prepared for you as MIDI files. The trumpet — like other brass instruments — uses a wide range of mutes; the most common are Harmon with or without stem , Straight, Cup and Bucket. They are mostly cone-shaped and are inserted into the bell or simply held or clipped outside the bell. Depending on the shape or material metal, wood, plastic they may significantly vary the sound of the trumpet.
It is available for all the brass instruments. Harmon can be combined with the stem, which is a short metal pipe with a funnel-like end, fitted into the hole of the Harmon mute. The Bucket mute uses some soft materials which remove the high frequencies providing a much softer, darker sound.
The Plunger — which, indeed, is very similar to an unused toilet plunger — is kept by the player in one hand and manipulated in front of the bell. A warning message appears, reminding you that: CC11 Expression is absolutely necessary for proper functioning of the instrument.
Upon receiving CC11 from your keyboard or other midi sources, such as a sequencer , the warning disappears, and the instrument is fully functional.
The grey button in the lower right corner opens a drop down menu. You may choose among several options: NEW! To obviate this problem, the instrument includes automatic detection of any velocity inhomogeneities or non-linearity emitted by the keyboard, and provides automatic remapping to any desired curve. Now, the relationship between in X axis and out Y axis velocity values is represented by the upper graph.
The graph can be directly edited with your mouse, so that you can program any velocity response you need. To compensate for a nonlinear behaviour of your keyboard, an automatic calibration procedure is provided. Each new output velocity will appear as a new bar in the lower panel. The overall velocity curve output of your keyboard will progressively be updated in the upper panel. The response of a nonlinear keyboard. You may also correct the compensated curve with your mouse. Please note that all changes will be maintained upon reloading the instrument.
All the controllers needed for proper functioning of the instrument are mapped to virtual knobs in three GUI panels, which can be activated by a drop down menu. The function of each controller is indicated by the associated label. The virtual knobs permit to monitor the incoming midi data, but can also be used to directly control the instrument. This allows users of keyboards without physical MIDI controllers or knobs, to explore the expressive capabilities of The Trumpet.
Please note that, for realistic and expressive playing, the controller knobs cannot substitute the essential controllers, such as CC11, modwheel C1 and pitchbend, which must be provided by your keyboard or sequencer.
Each knob is bidirectionally mapped to its CC. This means that you may set each CC by moving the associated knob. Conversely, any incoming MIDI CC will be mirrored by the corresponding knob, and its current value will be shown on the display panel. CC1 — modwheel : vibrato - shake intensity. Vibrato intensity increases linearly for CC1 values between 0 and Shake intensity linearly increases with CC1. CC5 : portamento time.
By default, the duration of portamento is controlled by the velocity of the overlapped note. Under some circumstances, it may be preferable to control the duration of portamento with a dedicated CC.
This is particularly true when using a Wind Controller, where the velocity of the overlapped note basically corresponds to the current dynamics. Lower dynamics unavoidably yield long portamentos and vice versa. The two knobs show how the duration of portamento is currently controlled.
By acting on the knobs, you may set the relative weight of velocity vs. CC5 for controlling portamento time. Controls continuous transition across the dynamics, from ppp to fff, free from phasing artifacts, due to our proprietary Harmonic Alignment Technology.
An expression pedal, or a breath controller, routed to C11, are highly recommended for the most realistic realtime playing. CC vibrato rate. The frequency range is approximately 2.
Reproduces the typical slight pitch modulation of the real attacks. Values above 40 may lead to unrealistic results. CC on-transition flutter intensity. Bursts of high frequency flutter are automatically generated on transitions, reproducing the behaviour of the real instrument. CC22 controls the overall intensity of this flutter. Medium frequency flutter-tongue may be added by directly acting on this controller, to produce a frullato flutter-tongue effect.
Optimal values are low to medium. Values above 70 may lead to unrealistic results. CC24 Tip: Different : dynamic patterns pitch modulation.
In version 2. For example, barock music generally exhibits less fluctuations, and the overall pitch tends to be more steady. You may reproduce this behaviour by decreasing CC24 somewhat from the default value of Tip: Higher settings of CC24 may also allow BC players to perform a realistic vibrato by simply modulating the air flow.
CC dynamics linked to velocity. The dynamic is normally controlled by CC11 only. CC25 allows to link the initial dynamics to note-on velocity. This allows fast sforzato-crescendo effects, often too difficult to create with the expression pedal CC If the value of CC25 is different from zero, the dynamic time course will follow a ramp, connecting the note-on velocity to the current CC11 value.
In the opposite case, one gets a crescendo effect. It varies from zero no dependence on velocity to initial dynamic determined only by velocity. CC default note-on pitch-modulation duration. CC default note-off release duration. Please note that the actual activation of the mute will occur on the first detached note i. This is particularly useful when working with a sequencer.
In Keyboard mode, the duration of portamento is determined by the velocity of the overlapped note. Since note-on velocities output by Windcontrollers generally reflect the current CC2 value, portamento time becomes a function of the current Dynamics. This is undesirable, since, for example, playing pp will always lead to long portamento and vice versa. Linking portamento time to a separate controller, such as CC5, permits to overcome this limitation.
The duration of portamento can now be controlled with any suitable physical controller mapped to CC5. If no controller is available, one might anyway set CC5 to a suitable value by directly acting with the mouse on the appropriate knob in controllers1 panel.
A mixed-mode behaviour is also possible, partially linking the duration of portamento to both dynamics velocity and CC5, allowing even greater flexibility and expressiveness. A pitch sensitivity knob is provided to compensate differences among different brands. For example, the Pitchbend output of theYamaha WC5 is smaller, and cannot easily cover the standard two-semitone range. WC mode is deactivated by clicking on the yellow button. Dynamics control will be automatically remapped to CC As with the real instrument, the pressed key only determines the note which will be played.
BC mode is deactivated by clicking on the yellow button. Portamento Time This option opens the Portamento Time panel. In Keyboard default mode, the duration of portamento is determined by the velocity of the overlapped note. While this represents a very convenient approach to portamento control, there might be cases where linking portamento time to a separate controller such as CC5 would be preferable.
A mixed-mode behaviour is also possible, partially linking the duration of portamento to both velocity and CC5, allowing even greater flexibility and expressiveness. The Trumpet does not use pre-recorded articulations, and shaping the sound is the task of the player, carried out by proper use of a few midi controllers.
However, extensive use of advanced Artificial Intelligence AI techniques greatly facilitates this task. You can therefore concentrate on creating music, rather than mastering complex sample bank management. Nevertheless, thorough knowledge of the controllers and the keyswitches, and some practice… are certainly needed to get virtuoso effects.
Before starting to play, please make sure your expression pedal or breath controller is connected to the keyboard and properly mapped to CC C1 to D2 are reserved for the performance keyswitches. Detached non legato , is a note separated from the previous one by some amount of time.
They consist of an attack, a sustain, and a release phase. The pitch-modulation depth of the attack and its duration — which creates a characteristic timbral richness - can be varied with CC20 and CC26, respectively.
You may continuously morph from pp to ff by acting on your expression pedal or breath controller. The duration of the default release can be varied with CC The default setting of 10 corresponds to a very short decay. The transition time and type between subsequent notes represents one of the most important elements of expression. You only need to overlap subsequent notes with the appropriate velocity.
Lower velocities lead to a portamento effect. This leads to the very realistic effect of a split portamento, especially if a wide interval is played in an arpeggio-like fashion. Please note: very low velocities below 10 , which are necessary for longer portamentos, might be difficult to play on some keyboards, so the proper calibration of the velocity response of your keyboard may be very helpful. Under these circumstances we strongly recommend using our velocity remapping tool.
During this very unstable status of the instrument the player is able to perform within some limits a nearly continuous glissando. In our virtual trumpet, the half valve sound is automatically activated if low velocity is applied.
Please refer to the keyswitch section for more details. Vibrato intensity and frequency are basically unsteady, depending on various factors, such as lip or hand pressure. Our virtual trumpet reproduces a realistic vibrato by simultaneously acting on those very parameters. Advanced AI techniques are used to recreate vibrato unsteadiness. If you analyse any real trumpet phrase, you will notice that many notes have a brief, tasteful kind of vibrato at the very end.
This vibrato is mostly just a single oscillation one period long, and adds a very typical expression to the sound. This articulation, nearly impossible to perform by the interaction of the main controllers, can be easily obtained by a simple touch on a keyswitch.
Keyswitch F 1 triggers a more definite, stronger pronounced end-vibrato. If pressed before note-off, it adds the same type of effect on the release of the note.
0コメント