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USER`S MANUAL

1. USER s MANUAL ad 6 2 2 1 Connection to a MIDI track So that BRASS can play information coming from a MIDI track you have to choose a MIDI track and select BRASS as MIDI lt lt output gt gt of this track See the picture below for more detail on how this is accomplished DEK Projet Cubase SX Sans Titre MBA 2 Sie Eo OS Sic i Non Connect Mappeur ma Microsoft Emul SoundMAX WDM MIDI Emul SynthU SW table de sons GS Mic Emul LoopBe Internal MIDI Emul in AM MIDI Inputs PUriphUrique audio USB Emul out brass SoundMAX WDM MIDI chn 1 prg Prog 1 map Aucune Drum Map Synth SW table de sons GS Mic LoopBe Internal MIDI P riph rique audio USB FL Studio Flanged FL Studio String FL Studio FM organ FL Studio FM wood FL Studio Bass FL Studio Pluck FL Studio BandPass FL Studio Short synth FL Studio WASP FL Studio Bell FL Studio C64 arp OR PS prasa FL Studio C64 arp 2 CARED Frost FL Studio ImageSynth as d Instrument Y S FL Studio Kick FL Studio Jam FL Studio Jam 2 as d instru IL je a w4 Enreg 44100 Hz 16 VST Instruments as d Instrument VS as d Instrument Y S Connection of a MIDI track to BRASS The events played on a MIDI keyboard are recorded by your host sequencer and now you can use the MIDI editing possibilities of the sequencer to control any parameter with BRASS 6 2 2 2 Saving of presets
2. delete the current selection Warning this operation can t be cancelled 4 2 1 2 Import and Export Riffs It is possible to import and to export riffs in MIDI format thanks to Import and Export buttons Importing of a riff from a MIDI file A riff can be imported from a MIDI file but first the file needs to be constructed so that the programmed tracks and controllers coincide with the riff instruments and its parameters e The tracks 1 through 4 of the MIDI file correspond to instruments 1 through 4 e The different controllers are automatically associated to the following parameters of each instrument ARTURIA BRASS USER s MANUAL 4 Parameter name Attack Pressure Pitch Tone Noise Vibrato Vibrato Freq Mute Position MIDI controller default association Associated controller number from O to 127 Velocity of the Note Breath Controller Pitch Bend After Touch General Purpose 1 Modulation Wheel General Purpose 2 General Purpose 3 4 2 2 Riff properties and visualisation 4 2 2 1 Instrument choice zone Instrument Trumpet1 m s v Default Default Instument choice 16 17 18 You can choose up to 4 instruments per riff simultaneously For each instrumental line which will correspond to an instrument there are several possible options Choice of a type of instrument trumpet saxophone or trombone In order to choose or to change the type of instrument use th
3. Saxo Trombone Choose your instrument 4 1 2 2 Preset preset selection Each instrument has an ensemble of presets associated with it allowing us to quickly find a sound adapted to the style or playing type desired For each instrument different presets covering all playing styles are displayed To modify the name of a preset click on the preset you want to modify and if it isn t already selected click on the selected name to reveal a field of text modification ARTURIA BRASS USER s MANUAL 32 To validate the modification click outside the modification field Preset Breath Cla Ic Fantare JAZI alza Velocity Name modification of a preset 4 1 2 3 File preset management New button insert a new preset called Untitled in the current bank of presets Save button save the selected preset Save As button save the selected preset under another name with the addition of _copy at the end of the name Delete button delete the selected preset note that you cannot delete factory presets WARNING This operation has no confirmation screen and can t be cancelled Import button import the selected preset from a pre selection file with the extension brs Export button export the selected preset in a pre selected file with the extension brs File moi i Hew Save ave As m cy Delete Import Export Management button of the presets 4 1 3 Right Se
4. then draw the curve of the lt lt Swell gt gt corresponding to the note played We ll reference you to chapter 7 for more training on the usage of BRASS in the case of a sequencer 5 2 Riff Mode 5 2 1 Playing Riffs on a Midi keyboard In Riff Mode you can select modify or program brass riffs Thanks to the MIDI protocol it is possible to launch riffs from your keyboard to do this slide the riffs of your choice onto the notes of the virtual keyboard Next play them by pushing on the corresponding notes on your MIDI keyboard gt In the initial configuration launch the riff on the left portion of your keyboard from C1 to C3 and choose their transposition mode by clicking on the right portion of the keyboard beginning at D3 ARTURIA BRASS USER s MANUAL 52 Funky 3 Trumpet Solo Funky 4 Re qqae Funk y 5 RnB Fall 2 salsa Funk 6 Slow Funk 7 Funk 5 Funk A TT see a 4 Chord Au P ka t Ah i 1 er af nk E Sp ash is b b i al he yy 4 A Distribute the riff on the left portion of the keyboard gt To delete one or several Riffs right click on it in order to choose the Remove option Right click on a Riff to delete it 5 2 2 Riff Control by a MIDI sequencer Two principal functions must be presented here the synchronization of riffs with an external sequencer and the possibility of importing or exporting riffs in MIDI notably for programmi
5. 1 1 3 Real time control When a parameter is assigned to a MIDI control see 4 1 3 Right Section Instrument configuration MIDI Settings the maximum range of the parameter can be set with two arrows displayed on each side of the dynamic controller zone This option is particularly useful and permits great flexibility in the real time parameter control For example if the modulation wheel is assigned to vibrato amplitude via the panel MIDI settings and if you want the maximum amplitude of the modulation wheel to correspond to a measured value of the vibrato amplitude you must set the parameters as indicated below a Vibrato Vi pe zi vei All Midi input Vibrato Maximum MIDI Limit 50 Modification of the range limit of a parameter If the 2 arrows limiting the amplitude of the MIDI controls are located at the top and bottom of the dynamic controller zone then the Midi control will be at its maximum when assigned to a Midi Channel see 4 1 3 Right Section Instrument configuration MIDI Settings ARTURIA BRASS USER s MANUAL 29 Nevertheless the automation applied to a parameter see following part Automation of the Live parameters can push this parameter to bring out the range limits defined by the arrows Control in real time pitch bend and Aftertouch When the pitch bend or the aftertouch control a real time parameter see 4 1 3 Right Section Instrument configuration MIDI Setting
6. Keyboard with 4fbertouch Keyboard Breath Controller Choose the lt lt Keyboard Breathe controller gt gt option gt Choose the parameter s that you wish to assign to the breath controller by connecting to the last of the 8 types of modulation gt Branch a lt lt breath controller gt gt cable to the desired parameter lt lt Pressure gt gt and lt lt Pitch gt gt for example As you may have noticed the control of BRASS in LIVE mode is very simple but using MIDI control in the riff mode is very easy as well We can set the parameters that will trigger your riffs by simply playing a MIDI note either on a MIDI keyboard or a host sequencer gt Go back into RIFF mode then choose the Midi channel by clicking in the field MIDI Channel in the MIDI Settings interface gt When you want to synchronize the riff with the tempo of the MIDI host sequencer click on the option Sync to Host to activate the synchronization Temposyne paa ep synctotenpo MEREU Choose the Sync to Host option gt When you want to change the interne tempo of BRASS click on the field Sync to tempo then choose the tempo by clicking in the tempo field ARTURIA BRASS USER s MANUAL 26 4 User Interfaces This section describes the functions of each of the two principal playing modes e Live mode permits playing and editing of an instrument in real time Riff mode permits playin
7. When the session project is saved BRASS is saved in its last mode of operation with all modifications intact For instance if you were working on a P1 preset in which you have modified parameters without saving them as a separate voice in the plug in itself at the next opening of the piece BRASS will load the P1 preset and the modifications The drop down menu which the VST sequencer allows you to save a new voice is of course usable with BRASS However it is highly advised to use the BRASS internal menu the presets saved in this way are usable in any other mode standalone or other sequencer they can be exported and exchanged more easily and they will remain compatible with the future BRASS versions 6 2 2 3 Automation The automation works the same with BRASS as with any VST plug in for more detail about automation refer to the VST sequencer documentation ARTURIA BRASS USER s MANUAL 60 6 3 Audio Unit Max OSX only 6 3 1 Installation The Audio Unit plug in is automatically installed in the folder reserved for this purpose in Library Audio Plug Ins Components 6 3 2 Use in Logic Audio gt Select an instrument track gt On the slice of the mixer corresponding to the selected track click on the button lt lt I O gt gt to obtain the list of plug ins then select lt lt Stereo gt AU Instruments gt Arturia BRASS Logic Pro 7 1 0pr879 File Edit Audio Options Windows 1 Help m OD o Thu1
8. along the curve when you are in the playing phase in order to be able to set these various parameters in a more intuitive way The posted units are e Time in seconds on the horizontal scale The modification of the delay parameter shifts the displayed units and the modification of the speed parameter modifies the time scale e The relative amplitude of the parameter variation This amplitude is posted in percents relative with the maximum range of the parameter Thus you can vary the automated parameter on its entire value range with the amplitude set to the maximum The automation values exceeding the allowed maximum value for the parameter won t be taken into account and then the parameter will be limited to this maximum value 4 1 1 5 Drawing tools gt To select a drawing tool you can use the bottom left button of the draw zone or right click Windows click and press the Ctrl key Mac on the drawing zone to display a menu with the different tools Pencil Freely draw a curve with the shape that you want Eraser Delete the values you put on the editor Line Trace a straight line ARTURIA BRASS USER s MANUAL 31 Curve Trace curves with different shapes by varying its amplitude direction and curve You can use the curve tool in the following way Click on the origin point of the desired curve While keeping the mouse button pressed move the cursor towards the second desired
9. as well by tapping on the head stock from which we have removed the mouthpiece The sound created by tapping on this the instrument will be rather short and its pitch will depend upon both the position of each key open or closed and slight variations in the manner of fingering the notes The playing frequency of the saxophone is therefore strongly influenced by the configuration of the resonator size fingering but the reed and the pinch of the lips on the reed also play a large role on the pitch of the note produced Pitch of the note As a general rule the saxophonist selects the note by modifying the resonator configuration From the physics point of view the simplest configuration of the resonator is with all the keys closed In this case an acoustic wave periodic oscillations of air pressure and speed whose amplitude vary throughout the instrument develops on the interior of the instrument and spreads through the length of the instrument The frequency of this oscillation and thus the pitch of the note produced is proportional to the length of the acoustic wave in the instrument We see right away that one simple way to produce a change in pitch will be to modify the length of the resonator However being that this procedure will be practical neither for the instrument ARTURIA BRASS USER s MANUAL 73 maker nor for the instrumentalist we use holes perforated on the wall of the resonator to produce these changes in le
10. by IRCAM opens a new generation of physical models based on the technology called Non linear multiple feedback loop giving a promising new choice It permits us to access a solution that goes beyond the samplers and loop libraries and in many ways surpasses previous physical modelling approaches Arturia has created BRASS as the first incarnation of this next generation of physically modelled musical instruments ARTURIA BRASS USER s MANUAL 4 The goal of BRASS is to offer new possibilities placing the composer in the perspective of the musician The software is built around two major components LIVE mode that allows a musician to create full expressive performances in real time and RIFF mode that offers a multitude of pre written yet easily modifiable loops that leave audio loop libraries behind While it offers much more than sample playback and flat looping systems the core modes of BRASS doesn t ask you to radically modify your manner of working As an extension with the usage of adapted controllers such as a breath controller and with practice and understanding of the behaviour of the underlying models you can realize the full measure of possibilities that BRASS offers A physical model is in a way a living instrument much like their acoustic counterparts it will become more responsive with practice But don t worry this will always be infinitely faster than the mastery of the real instrument We hope that y
11. click on the Reset button which appears A double click on the preset name or the star opens a window which makes it possible to change the riff properties A window pops up with three fields Style instrument name With this window you can carry out the following operations gt Renaming a preset Click on the field entitled Name and type the new name of your Preset on the keyboard then click on the Ok button gt Move a preset to an existing bank select the bank where you wish the preset to be moved using the scroll menus of the fields Style and Instrument then click on the Ok button gt Create a new bank and move a preset there click on the Style or instrument field and type the new name you want You can also select an existing style to create a new name in the instrument field Click on Ok when you are done You can also move an existing riff by directly clicking and dropping it into another instrument or style bank To do this click on the riff you want to move and move the mouse to the desired destination bank while holding the mouse button down 4 2 1 1 Management of riff presets The file menu allows use of the riff presets in different ways New Button creates an empty riff at the place of the current Instrument style selection Save Button save the selected preset Save As Button save the preset under the same name at the place of the current selection followed by _copy Delete Button
12. concerns all of the following the instrument selected the spacialization and MIDI settings 3 1 1 Management of documents With the tab lt lt Instrument gt gt situated at the top of the document manager you can choose one of the 3 instruments proposed in BRASS for the first example we ll choose the trumpet Select the preset lt lt Default gt gt among the 30 presets created for this instrument This preset recalls all settings of the synthesis parameters seen in the center section of the screen as well as the configuration of the instrument and the spacialization seen to the right of the screen Preset Classical section A Classical soloist E Default Ti Jazz S ast E Jazz wahwah A A A Latin lead Choose the lt lt Default gt gt preset gt Begin by playing a few notes on your MIDI keyboard or on the keyboard situated in the middle of the screen Change the pressure parameters and the tone and listen to the changes while you play Pressure Ss Change the pressure parameters The BRASS faders are unique The colored bar graph indicates the value of the fader The two arrows situated to the right and the left represent the boundaries between which the fader will be modulated if we assign it to a MIDI control ARTURIA BRASS USER s MANUAL 17 gt Change the global playing characteristics of the trumpet by adding and removing a mute to this example Click on the lt lt Configura
13. curve By releasing the mouse button you can now modify the line curve between the two points previously defined A new click will validate the curve you have established You can also redraw a curve starting from the second point of the preceding curve by clicking and immediately releasing the mouse button Then by moving the cursor a curve automatically appears which you can set the curve in the same way a wd Noise The tool allows you to add noise to the modulation This signal is added to the already present curve The added noise amplitude is proportional to the distance of the mouse cursor in comparison to the curve principal axis To add noise click on the curve for less noise bring the horizontal axis closer to the curve to add more noise move away from the horizontal axis Sine Allows you to draw a centered sinusoid on the horizontal axis Click on the drawing zone at the place of the desired beginning for the sinusoid move the mouse cursor while holding the mouse button and slide with the desired sinusoid end height The distance of the mouse cursor compared to the horizontal axis at the relaxation time determines the sinusoid amplitude mi Square Allows you to draw square wave Proceed in the same manner as the sinus form 4 1 2 Left Section Instrument Presets 4 1 2 1 Choose your type of Instrument Three instruments are available in BRASS trumpet saxophone and trombone instrument Trumpet
14. fe Changement de banque Patch 3 gogg g S aaa Changement de signature rythmique tonalit SS te 1 01 000 1 01 000 fA A 3A Changement de tempo FAS Sei 100 00 FAY Espace Mesures 1 01 000 1 01 000 ET 2 SONAR2 Piste Py Marqueur Omni V l S rie de contr leurs S rie de tempos i E 1 fAudio1 R 00 amp P riph rique ReWire 0 0 Cakewalk TTS 1 00d A aucun Synth tiseur DXi d Alien Connections Revalver SE Piste audio Cyclone Piste MIDI DreamStation Dxi2 Dossier de pistes mini o MusicLab RealGuitar Bus St r o Bus Surround VST Opening BRASS in Sonar gt The lt lt Synth Rack gt gt window will then appear In order to make the graphic interface of BRASS appear double click on its name in the lt lt Synth Rack gt gt window 6 5 2 1 Connection to a MIDI track gt In order that BRASS can play the information coming from a MIDI track choose a MIDI track and select BRASS as shown below ARTURIA BRASS USER s MANUAL 68 SONAR 2 Piste Orne SS ee O DES MORO M r Omn v 4 BRASS 1 Primd 00l hd Nouveau Drum Hiiti Nd i NK X Q E i Gestionnaire de Drum Maps rimary oundMA Digital Audio _SONAR2 Rack de synth s l olx jxjaja s 5 pBrass i M S R gt o l RASS 00M4 0 0 tha 3 Effect Send1_ M Connecting to a MIDI track in BRASS MIDI events can now play through to the B
15. harmony and chords that form the notes between the different instruments don t settle by simply playing all the instruments in unison With all the parameters that BRASS offers work on expression in your arrangements profit from real time playing parameters such as the attack pressure tone vibrato etc A true instrumentalist naturally adjusts his playing approach it is this that brings music to life Along those lines think about the idiosyncrasies of an instrumentalist or of several players together For example if all notes are precisely fixed using quantization the brass sections will sound a bit too clean because even the best of musicians play with a certain shift in sound between them this is what makes a brass section living and allows us to perceive the subtle differences between the attack of each instrument This observation is true for all styles of music to varying degrees according to extensive research regarding precision in performance and tempo variations Below we have for the some general styles of music some very general suggestions on using BRASS to create quality arrangements 1 1 Pop Rock In general the horn line is used to accentuate certain strong passages of the piece crescendo transitions etc Look for passages in you piece that can be accentuated the places that miss something to give them the dimension of power and change that you re looking for Brief and efficient riffs will be the e
16. muted wahwah effect is chosen muted wahwah or muted plunger see 4 1 3 Right Section Instrument Configuration Mutes this parameter allows us to set the intensity of the effect otherwise said the position of the hand for a muted wahwah or the position of the mute plunger When no mute is activated or one static mute is chosen the real time controller is disabled ARTURIA BRASS USER s MANUAL 28 4 1 1 2 Live Viewing of Parameters The parameters viewed in the central band are representatives of the sound and the control of the instrument There are several ways to vary the parameters Control with the mouse on the parameter bar With your sequencing hosts plug in automation clicking on the A button and beginning to draw will activate the control and open the editing window Using assignable MIDI controllers in the configuration section of the instrument see 4 1 3 Right Section Instrument Configuration MIDI Settings Direct Settings of the Mouse At any time a parameter can be set with the mouse by clicking on the dynamic controller zone Direct control is available in the following ways e Windows by right clicking on the mouse or by left clicking and pressing the Shift key simultaneously e Mac by pressing the Shift button and on the left click of the mouse simultaneously Pressure Pitch Timbre Noise Vibrato Pressure 63 Modification of a mouse parameter 4
17. of musical creation The musical genres particularly suited for computer creation those using loops or electronic sounds and processing have seen a large and significant growth In this context the contemporary musician that searches to integrate a brass section into a musical piece has a choice either hire a performer that can play his piece in a studio or find an electronic means that simulates a brass piece at low cost This being said the two choices are not exclusive a composer might wish to program a brass part individually as a preview before recording a real performer for the final version of the song In any case a composer that constructs the basics of their work on a computer and wishes to program individual instrument parts such as a solo trumpet or a section of saxophones are always looking for new ways to express themselves The first possibility offered to them is the use of sampler With such a tool musicians can easily perform the recorded sound of each instrument on their keyboard Unfortunately this simplicity often has a price a certain lack of expression flexibility and instrument control Once the performance is captured within the individual sample it s difficult to modify the performance into something resembling a live player The research to find the right sample can also be long tiresome which often does not match the productivity criteria set by the music industry today For a composer the second method
18. play all the notes of the chromatic scale It is the same when you play a note in BRASS it is good that one or the other of these options is put into place by the model Brassy sounding Brass One of the essential characteristics in the performance of brass instruments is their ability to transform and enrich the harmonic content produced when the volume level augments We re talking about a metallic bright or even brassy sound This transformation of sound is principally due to the progressive distortion of acoustic waves as they spread into the body of an instrument The phenomenon is similar to the formation of ocean waves nearly winding in high tides and that progressively crash into one another while approaching the shore until surging and breaking onto the beach The equivalent of crashing for acoustic waves is the formation of shock waves in the interior of the instrument It is this spectacular distortion of pressure waves that is identified by the ear and associated with a brass sound To experience this with BRASS breathe stronger and stronger by increasing the lt lt pressure gt gt parameter and listen the sound is not only louder it is also more rich and colorful in effect brassy 7 1 2 Trombone The functioning of the trombone is very similar to that of the trumpet The main difference is that while a trumpeter is limited to a finite number of ways to elongate his instrument only 8 possible positions the trombonist ha
19. pleases you save your tonal preset generally we suggest that you save your preset after each important change gt Click on the button lt lt Save As gt gt This will create a copy of the current preset gt Choose a new name by double clicking on the name lt lt Copy gt gt ARTURIA BRASS USER s MANUAL 20 3 2 Riff Mode File OP FI aS Hew Save Save As m gt Delete Import Export Click on the lt lt Save As gt gt button ARTURIA BRASS USER s MANUAL 21 Note editing grid Riff mode Live hn Instrument omg J i Configuration Instrument 7 i v Trumpet 1 imisi Trumpet i selection _E i mma Instrument Bins aia settings manager ad z g Number 4 es E i oe f i none Ii z P ge Riff length Spacialization and ri tempo Riff settings ee Settings a Funk mis uni Funky 4 Midi ET Se Funky 5 Settin gs 7 Slow Fall 2 Files s Funk 6 Midi input manager x Funk 7 Toe Chord pEr o w Riff 4 area AEE area Riff Interface Presets e manager MU lim The lt lt Riff gt gt mode provides a simple interface that permits selection or creation of short keyboard triggered performance arrangements It is possible to use up to 4 instruments simultaneously in each riff A large riff palette is shown and provides examples o
20. plus the modifications The lt lt Librarian Menu gt gt of Pro Tools is able to be used with BRASS like with all other plug ins Nevertheless it is highly recommended to use the internal BRASS menu with the presets saved like this they are usable no matter which mode standalone or other sequencer and they can be exported exchanged more easily and will stay compatible with the future versions of BRASS 6 4 2 4 Automation under Pro Tools The automation function with BRASS like with all RTAS HTDM plug ins make reference to the Pro Tools documentation for more details on the plug in automations ARTURIA BRASS USER s MANUAL 67 6 5 DXi Windows only BRASS is compatible with the DXi protocol and thus can be used with Sonar and also with all other sequencers that accept the DXi instruments 6 5 1 Installation gt During the installation select lt lt DXi gt gt among the list of protocols that you wish to activate for BRASS on your computer gt Then follow the instructions on the screen until the end of installation Once the installation is finished BRASS can be used like any other DXi instrument 6 5 2 Opening the instrument Sonar 2 0 gt In the lt lt Insert gt gt menu open the sub menu lt lt DXi Synth gt gt and choose BRASS SONAR2 SONAR 4 Producer Edition Agg Fichier Edition Traitements Affichage BOSSip Transport Aller Piste Outils Options Fen tre Aide Die ta ES ie C
21. the 1 n Note option The options 1 n Note T displays time divisions in triplets 4 2 4 2 Zoom To visualize the different riff sections a bit more precisely the piano roll can be zoomed vertically and horizontally The two beveled bars located in the bottom right of the piano roll allow the user to select the zoom factor of the two vertical and horizontal scales bottom right of the piano roll allow us to scroll the view 4 2 4 3 Editing Notes Three tools are available for editing notes Fi The scroll bars on the Pencil Accessible by a click on the corresponding button in editing mode and by the Draw Resize menu when you right click Windows or Ctrl click Mac on the piano roll zone This tool makes it possible to draw individual notes and to change the note length Arrow Accessible by a click on the corresponding button in editing mode and by the Select Move menu while the right clicking Windows or Ctrl click Mac on the piano roll zone This tool makes it possible to select and move notes Eraser Accessible by a click on the corresponding button in editing mode and by the Delete menu while right clicking Windows or Ctrl click Mac on the piano roll This tool makes it possible to erase notes Just a reminder once the notes have been inserted they can be quantized The quantization menu is accessible by right clicking Windows or Ctrl click Mac on the piano roll time scale bar applied quant
22. the instrument resonance and the frequency of the lips Thus two possibilities are presented for the trumpeter to choose a note The trumpeter can increase or diminish the frequency of sound by modifying his embouchure the embouchure is what we call the ensemble of lip and face muscles used in playing an instrument In practice he stiffens his lips to increase the resonance frequency It is like this that the trumpeter can produce different notes with the same fingering It is the bugle principle which even without a valved instrument allows one to play all the notes in a harmonic series Try to modify the lt lt pitch gt gt parameters in BRASS and you will obtain the exact same results The changing of a note can equally be achieved by increasing diminishing the resonance frequency of the instrument One needs only to modify the position of the three pistons By pushing the pistons one increases the length of the pipe that the trumpet is made of and in effect lowers the resonance frequency Pushing the n 1 piston lowers the frequency one half step n 2 one full step and n 3 one and a half steps The effect is increased when you press several pistons simultaneously ARTURIA BRASS USER s MANUAL 70 thus the resonance frequency of a trumpet with all pistons held down is three steps lower 0 5 1 0 1 5 than a trumpet with all the pistons released By playing notes in these two ways it is possible for the trumpeter to
23. virtual keyboard 6 4 2 2 Connection to a MIDI channel So that BRASS can play the information coming from a MIDI track you have to connect it to a MIDI channel via the appropriate menu We can thus equally direct BRASS from a control keyboard see the Pro Tools menu for more information on plug in connection ARTURIA BRASS USER s MANUAL 66 Pro Tools LE 6 9 File Edit AudioSuite MIDI Movie Operations Setups Display Windows Help m O Wed 14 53 O AOO BRASS Project DRE SI Rat wi x J RASS Project 0 10 0 20 30 040 350 100 1 10 jo ioo0000 2000000 3000000 BRASS 1 gt v channel 1 Predefined Ril Fe on Configuration Instrument hesis CRER Trumpet channel 16 Saxo Trombone TEA Number 4 Preset Spacialization Default _ Midi Settings Attack Pressure Pitch Timbre Noise Vibrato Vib freq Mute Pes 5 d Midi Chan Al A AL AL AL AL A A st All 3 Save As re te Ei Midi input Delete Import Export al Connecting a MIDI track to BRASS 6 4 2 3 Saving the presets When the session is saved the status of BRASS is saved as it is even if its programming does not correspond to the preset For example if you are working on a preset lt lt P1 gt gt in which you have modified the parameters without saving them in the plug in itself the next time you open the session BRASS will charge the lt lt P1 gt gt preset
24. 0 04 e608 2 Untitled lso Arrange d BaO Vinst 1 Audio Object HARA AA G Jevice CoreAudio Channel instrumenti MIDI Channel 1 p DrawOrgan E Square Wave 11 12 13 Syn Strings 14 15 16 saw Soundtrac No Output MIDI Click No plug in Mono l gt ARP2600 V Multi Channel BRASS mini V Modular V 2 00 00 120 0000 4 4 Noin i 1 445610 164 No Out Opening BRASS in Logic Since version 7 there has been an Audio Unit plug in manager in Logic To launch it click on the menu lt lt Preferences gt Start Logic AU Manager gt gt ARTURIA BRASS USER s MANUAL 61 Melita File Edit Audio Options Windows 1 Help About Logic Pro E Freferences d Global 2 Untitled lso Arrange Audio services gt MID lt C C a C i i C C See Hide Logic Pro 3H Display Hide Others 3H Score P Show All Video Automation Quit Logic Pro a6 Initialize All Except Key Commands Start Logic Setup Assistant Start Logic AU Manager J5 lt JAE TiS F kit iz R Control Surfaces Finst 1 Audio Object Key Commands TE Device Core udio i il Grand Piano Channel instrumenti gt z i MIDI Channel mill wel 2 Polysynth SE a Fingered Bs Show BOs i Muted Gt Show inserts j Show Sends bud Trlr T 5 Strings oe 5 Pizzicato
25. 1 1 Center Section Controlling Parameters in real time In the center of the user interface there is a visualization of the selected instrument and the real time parameters that are associated with it 4 1 1 1 Presentation of the Parameters Attack Pressure Pitch Timbre Noise Vibrato Vib freq Mute Real time parameters of an instrument Attack Set the attack force higher settings provide a faster and stronger attack and lower parameter values create a slower and softer attack We can set different types of attacks in the instrument configuration window see 4 1 3 Right Section Instrument configuration Types of attacks in order to adapt the model of different playing styles Pressure Set the pressure of the air to entering the instrument Allow variation of tone and volume of the instrument at the same time in the same way a musician would blow stronger into the instrument Pitch Vary the notes around the notes played By default the pitch parameter is set in the middle of its range to the 0 value Tone Set the tone of the instrument in order to obtain a variation in the timbre of the sound Noise The noise parameter controls breath or air that is part of the sound Vibrato This allows us to add vibrato while playing Vibrato Frequency This parameter adjusts the vibrato frequency applied Mute The mute is accessible uniquely for the trumpet and the trombone In the case where a
26. 1 Riffs selection presets management 40 4 2 2 Riff properties and visualisation 42 4 2 3 Control of the riff mode in MIDI 43 4 2 4 Editing Riffs 45 5 Using Brass in MIDI 48 5 1 Live Mode 48 5 1 1 Using a MIDI keyboard 48 5 1 2 Using a Breath Controller 51 5 1 3 Assigning the External MIDI controllers 51 5 2 Riff Mode 52 5 2 1 Playing Riffs on a Midi keyboard 52 5 2 2 Riff Control by a MIDI sequencer 53 6 Modes of Operation 56 6 1 Stand alone 56 6 1 1 Launching the Stand alone application 56 6 1 2 Preference Configuration 56 6 1 3 Instrument configuration utility bar 57 6 1 4 Information on CPU usage 58 6 1 5 Panic 58 6 1 6 Saving the configuration 59 6 2 2 VST 59 6 2 1 Installation 59 6 2 2 Instrument use in the VST mode 59 6 3 Audio Unit Max OSX only 61 6 3 1 Installation 61 6 3 2 Use in Logic Audio 61 6 3 3 Use in Digital Performer 63 6 4 Pro Tools 65 6 4 1 Installation 65 6 4 2 Utilization of the plug in 65 6 5 DXi Windows only 68 6 5 1 Installation 68 6 5 2 Opening the instrument Sonar 2 0 68 7 Research 70 7 1 Trumpet and Trombone 70 7 1 1 Trumpet 70 7 1 2 Trombone 71 7 2 Technology used with the Trumpet and Trombone 71 7 3 The saxophone 73 7 3 1 Musicians Technique 73 7 3 2 Pressure 76 ARTURIA BRASS USER s MANUAL 1 Introduction Arranging for BRASS Brass instruments are used in a great many music styles sometimes discretely and sometimes taking center stage To know which
27. 2 2 Windows Installation gt First remove any Syncrosoft USB key from the computer during installation If your key is connected unplug it before beginning the installation procedure gt Insert the CD ROM into the drive Explore the contents of the CD ROM and double click on the icon called lt lt BRASS Setup exe gt gt After the software license has been validated the installer asks you to choose a type of processor If you have a recent processor compatible with the SSE instructions starting from the Pentium 3 and the Athlon choose the optimal plug in for Pentium 4 Otherwise or if the optimised plug in doesn t function choose the generic processor option ARTURIA BRASS USER s MANUAL 10 Which Plugin do you want to install Optimized for SSE P3 P4 Athlon Generic Processor OF Cancel Choose your processor gt Next select the protocol s that you want to install The available options are e The standalone application e The VST plug in The DXi plug in The RTAS plug in BRASS Plug in Installation BRASS will be installed on your computer ou may also want to install one or more of the following protocols lw YST Protocol Bel Protocol ae Protools protocols Choose your protocol For more information on those protocols please see to chapter 6 of this manual gt For the installation of the VST and RTAS protocols you should select the installation folder o
28. BRASS USER s MANUAL 57 6 1 3 1 MIDI configuration The first part of the utility bar allows selection of the ingoing MIDI port and channel which controls the instrument gt First choose the MIDI port where your note controller data comes from from a MIDI controller external sequencer etc gt Next select a particular channel 1 16 or allow the instrument to respond to all the channels by selecting lt lt All gt gt 6 1 3 2 Configuration of the keyboard range The keyboard range control permits constraint of the key zone In this way you can play several instruments on your keyboard each standalone instance responding to a different zone per individual settings gt To activate this function select the lt lt Split gt gt option in the utility bar Afterwards you can limit the keyboard zone by configuring the lowest note and the highest note corresponding to the instrument 6 1 3 3 Octave configuration The octave parameter permits you to shift the response from your keyboard from one or several octaves This function is great if your keyboard doesn t cover the octave in which you want to play or if you have activated the keyboard zone option and wish to move a limited instrument range to a lower or higher register of the voice you are playing 6 1 3 4 Configuration of audio output The last selection of the utility bar permits you to select the audio output channel If the sound menu offers several outgoin
29. IN Ay fh ni A 500 1000 1500 2000 2500 3000 3500 4000 4500 5359 266 3658 Comparison Chart The Physical Model The physical model is the ensemble of equations that explain in mathematical language the different phenomenon in physics and are well understood thanks to the studies of the previously mentioned researchers In fact the sound produced by BRASS is the solution of equations calculated more than 44 000 times a second Indeed with a physical model the sound is always in ARTURIA BRASS USER s MANUAL 72 evolution we told you in the introduction that you would be impressed by the liveliness of our manual Since the physics of the most up to date studies are included in these equations the model and thus the sound reacts in the same way as the real instrument In this way the physical model included in BRASS permits us to simulate innumerable possibilities of playing on the instrument naturally reproducing the sound effects made by changing the valves and slide position changing the tension in the lips of a trumpeter increasing the breath and thus the level of sound effecting the brass sound The sound of turbulence from the release of air in the instrument is equally modeled on an analytical base of real sounds Why is BRASS incomparably easier to use The possibilities offered by the model are comparable to those of the real instrument but the practice of the virtual instrument doesn t require the
30. RASS virtual instrument and can be recorded and edited in Sonar 6 5 2 2 Save the presets When the session is saved the status of BRASS is saved as it is even if the programming corresponds to none of the presets For example if you were working on the preset lt lt P1 gt gt at which time you modified the parameters without saving them in the plug itself the next time you opened the piece BRASS would load the preset lt lt P1 gt gt plus the modifications 6 5 2 3 Automation Automation with Sonar functions simply by the reception and saving of MIDI Control Change messages see your Sonar documentation for more details on the plug in automation ARTURIA BRASS USER s MANUAL 69 7 Research 7 1 Trumpet and Trombone 7 1 1 Trumpet How does it work The trumpet is a wind instrument in the brass family composed of a mouthpiece and a curved brass tube cylinder that uses three valves to change the length of the tube and therefore the selection of notes that the player can choose In the condition where sound is formed to create a note with a well defined frequency operation of the trumpet can be described as the synchronization of several oscillations or waves at the same frequency the oscillation and vibration of the lips of the trumpeter which open and close for example 440 times a second for the A of tuning fork the waves of pressure in the interior of the mouth and lungs flowing into the instrumen
31. Str Transpose v 7 Brass 1 Velocity Key Limit C 2 G8 20 ts amp Trumpet Vel Limit 9 Reverse Cym Delay Drums Mapped No ranspeos PP No Reset ERMIR 11 BrawOrgan Style Pll i E Pianol Launching of Logic s Audio Unit Manager This Manager allows us to see the list of the available plug ins to test their compatibility with Logic and to activate or de activate them If it happens that one of the Arturia plug ins poses a problem in Logic start by checking that this plug in has passed the compatibility test and that it is actually selected for use ARTURIA BRASS USER s MANUAL 62 The Audio Unit Manager 6 3 3 Use in Digital Performer gt To add an instrument choose the menu lt lt Project gt Add Track gt Instrument Track gt BRASS ARTURIA BRASS USER s MANUAL 63 Vi T L JE LZ MOTO gitn s pr ws Be U wW Memory Start 1111000 Stop S110002 Project New File 2 Mix Mode Off lt Add Track Add Similar Tracks Duplicate Tracks Delete Tracks Modify Conductor Track Track Groups Modify Track Groups Sequences Chunks Tracks Sequence Editor Mixing Board Effects Markers Graphic Editor Event List Drum Editor QuickScribe Editor Soundbites Clippings Consoles Movie Midi Track Mono Audio Track Stereo Audio Track Surround Aux Track MIDI QuickScribe Opening of BRASS in the Digital Performer n Q Thulo 17 a O a
32. USER S MANUAL BRASS SOFTWARE amp HARDWARE ARTURIA BRASS USER s MANUAL PROGRAMMING Arturia Fabrice Bourgeois Jean Michel Blanchet Nicolas Bronnec Xavier Oudin Fabrice Paumier C dric Rossi Ircam Andre Almeida Matthew Burtner Rene Causs Xavier Rodet Norbert Schnell Patrice Tisserand Christophe Vergez MANUAL Andr Almeida French version Jean Michel Blanchet French version Nicolas Bronnec French version Fr d ric Brun French version Houston Haynes English version Mitsuru Sakaue Japanese version Yuji Sano Japanese version Scott Stafiej English version Sven Steglich German version Katsunori Ujiie Japanese version Christophe Vergez French version DESIGN Sabine Simmermacher Typografics Yannick Bonnefoy Beautifulscreen Nicolas Pianfetti ARTURIA SARL 1999 2005 All rights reserved 4 Chemin de Malacher 38240 Meylan FRANCE http www arturia com Information contained in this manual is subject to change without notice and does not represent a commitment on the part of Arturia The software described in this manual is provided under the terms of a license agreement or non disclosure agreement The software license agreement specifies the terms and conditions for its lawful use No part of this manual may be produced or transmitted in any form or by any purpose other than purchaser s personal use without the express written permission of ARTURIA S A Ot
33. aking another example connect the modulation wheel on the breath lt lt Noise gt gt with a backwards curve value Doing so you obtain an important breath level when you play softly on your keyboard and in an inverse sense the breath disappears when you play strongly Do not forget that like we have seen in chapter 4 1 1 it is possible to adjust the inferior and superior limits to the modulation in order to have a better control This of course is accomplished through the adjustment of the two small black arrows that surround the adjustments of the playing parameters in real time pitch pressure timber ARTURIA BRASS USER s MANUAL 50 5 1 2 Using a Breath Controller The MIDI breath controller is an ideal tool for augmenting the realism of playing in the case of BRASS If you use such a controller choose option lt lt keyboard amp breath controller in the menu lt lt Control type gt gt of the screen MIDI settings Breath controller Thanks to Breath Control you can control the intensity of pressure with more precision or for example make vibrato effects thus you will have mastered the intensity and speed In order to use the Breath Controller connect the source of the same name to the modulation destination s desired on the MIDI Settings screen Of course it is the attack and the pressure that one must before all else link to the breath controller It is by the means of the keyboard tha
34. al presets of the instrument itself see the chapter on management of brass presets Saving by the means of the menu does not imply the saving of the current presets 6 2 2 VST 6 2 1 Installation 6 2 1 1 Under Windows gt During installation select the box lt lt VST gt gt among the proposed format choices of plug ins The installer will automatically detect the VST folder of the instruments used by Cubase In the case of another compatible VST sequencer such as Logic Audio you will have to manually copy the plug in file in the appropriate folder You will be able to find this file after the installation in the folder C Program Files Arturia BRASS The file is called BRASS dll 6 2 1 2 Under Mac OSX The VST plug in is automatically installed in the folder of the system corresponding to the VST instruments Library Audio Plug Ins VST The VST plug in will be usable by all your VST host applications 6 2 2 Instrument use in the VST mode The opening of VST BRASS plug ins is the same as opening all other VST plug ins Please consult the instruction manual of your host sequencer for more specific information Under Cubase SX open the menu VST Instruments and choose BRASS in the rack VST Instruments lw Pas d Instrument WoT Cubase 5 Instruments P Drums Synths Wizoo ARPS6O0 Y z Broomstick ass MIYI Modular Y 2 BRASS opening in Cubase ARTURIA BRASS
35. asiest to insert into your song Sometimes a single well placed chord is enough Until very confident with this genre avoid mixing the horn line with singing portions instead alternate them to fill empty spaces You might do this with the melody for example If you do put the different portions together at the same time it can be specifically for a passage that requires a particular impact Also consider that many rock and pop songs use keyboards organs and synth pads to fill in chords during certain passages A horn line can work with these instruments or can replace them Just be careful that human phrasing is used as a synth pad can be held much longer than a note from a brass instrument and careful attention to phrasing is required if a synth effect is to be avoided There are countless examples of bands that use horn ARTURIA BRASS USER s MANUAL 7 lines effectively Of course the band Chicago stands out as a Classic Rock group that used the horn line as their center piece and of course Bruce Springsteen s work with the E Street Band But there are also many many current rock groups and artists that use brass effectively in their work Morphine Cake No Doubt Mighty Mighty Bosstones Sublime and Beck are all fine examples with many others that you will hear on the radio or see on television nearly every day 1 2 Reggae Brass sounds in this genre are well established even fundamental and we can usually distingu
36. ath adapted to a broad range of playing Type 2 Direct and accentuated attack for clear and precise sounds ARTURIA BRASS USER s MANUAL 35 Type 3 Staggered attack for a more jazzy sound Type 4 Attack without breath quite soft The bottom part of the control display depends on the selected instrument For the trumpet and the trombone it makes it possible to choose among several types of mutes For the saxophone you will be able to choose among several types of horns e Mutes trumpet amp trombone only Dry mutes choked and clear sound used in the classical or jazz playing Bowl mutes sound more open adapted to the jazzy New Orleans playing Harmon mutes also called the Miles mute because it was used frequently by Miles Davis Used for jazz acid jazz Plunger removable mute which is held by the instrumentalist and completely covers the bell or can be released to have no effect on the sound Wahwah mute fixed mute on which the removable section can be more or less filled up by the instrumentalist s hand when he plays The two last mutes plunger and wahwah can be modulated in real time with the parameter Mute of the Live interface when one of them is selected e Types of mouthpieces Saxophone only Standard the more common type of mouthpiece giving an adapted sound to all types of playing Classic give a clear sonority rather neutral Wood a rather soft sonority velv
37. ation comes in the Live section you have to reselect the preset in the riff section so that the modifications of the instrument preset will be taken into account in the riff 4 2 2 4 Spacing The spacing of the riff mode allows us to easily manage the 4 riff instruments at the same time This will be done the same as in the Live mode see 4 1 3 Right Section Configuration of the instrument except that one can lay out the four instruments in the space 4 2 3 Control of the riff mode in MIDI The MIDI Settings panel makes it possible to configure the use of a MIDI keyboard and the synchronization mode in riff mode ARTURIA BRASS USER s MANUAL 43 Midi Settings Midi Channel AN Tempo sync PT syictonost PT synctotenpo Am CIA HHT Trigg On Riff Chord vy Ri Bey Hold Riff J Chord Riff 7 Chord Hold Chord MIDI screen settings in riff mode 4 2 3 1 MIDI synchronization The play tempo of the riffs can be configured by clicking one of the Tempo Sync options No Sync the riffs are played in their original tempo Sync to Host the riffs are played in the tempo of the sequencer that BRASS loads Sync to tempo makes it possible to freely adjust the play synchronization tempo of all the riffs 4 2 3 2 Keyboard and control MIDI configuration The keyboard is divided into two zones the Riffs zone and the Chord zone These two zones can be reversed with Option Mode of the configurat
38. ch so that the note can sometimes be inaudible for one fraction of a second or might finish in a rapid decrescendo Consider the trumpet work of Miles Davis or Wynton Marsalis the sax performances of Stan Getz or Wayne Shorter or the trombone solos of JJ Johnson or Bill Watrous There is a vast array of virtuosos to draw from 1 5 Classical Using Brass in this style is centered mostly around the trumpet and trombone with seldom an entry for the saxophone The sound can be very different in function of the usage either in sections or solos For example using trumpets in a section can give a majestic aspect to the piece the sound will be straightforward and have easily discernable attacks In this style of arrangement take care not to synchronize the different trumpets too precisely in order to give the ensemble a realistic effect even in classical arrangements there needs to be a space between the notes played For the part of trumpet soloists use a more subdued sound with well controlled attacks Play while alternating between detached and linked notes to give lightness to the playing style For a sequence of fast notes put the accents on the key notes or on the notes a bit higher than the others such that the musician has to search for it Any of the classical solo works from Wynton Marsalis will present a clear image of this approach 1 6 Fanfare Military These styles of music use brass in a powerful and commanding way Expr
39. consists of introducing a complete loop cycle in the composition that is to say a small previously recorded musical phrase that guarantees an expression and interpretation closer to reality Unfortunately the downside of the loop is that we cannot modify the content articulations tone or the mood which strongly limits the musical usefulness of the recorded phrase Beyond sampling and loop playback there is yet another solution physical modelling Particularly through the research at Stanford University USA and IRCAM France the concept came forth to emulate acoustic musical instruments with mathematics and created a new path of musical exploration The third method is by far the most promising since it allows the composer to recreate the performance of an acoustic instrument with all its finesse but to work within an interface that is familiar Thus in the case of physical models keyboard control permits a level of expression that samplers don t offer In this way the composer once again becomes the interpreter escaping the trap of limiting technology and is allowed to once again focus on the creation of expressive music Of course let s not pretend physical models are the Holy Grail of music offering the exact same quality and expressivity as a live performance The musician maintains a strong advantage since the player defines what the results must be with the instrument as they are performing However the path established
40. ction Instrument settiing 4 1 3 1 Instrument parameters The Right Section of the Live screen is dedicated to the settings for the selected instrument This part shows the instrument configuration a trumpet a saxophone or a trombone including the number of instruments playing at the same time 1 2 3 or 4 at the same time with the chorus mode 4 1 3 2 Configuration The configuration button opens the following window ARTURIA BRASS USER s MANUAL 33 This allows change of the instrument s sound according to its style or material type You will be Peg X CONTIC uration a Humanization l Beginner Human Computer GE O Jamz Number CA ME ice Attack 3 gt P w ww QS wa a ra i l Attack with lot of breath dynamic Plunger WahWah Configuration Screen e Material choice choice of the instrument material able depending on your needs to obtain a more subdued brighter or clearer sound etc Six different selections are available for each instrument each reproducing different characteristics specific to these instruments Trumpet amp trombone Pop Rock Jazz Classic Ballade Wood Glass Saxophone really bright sound very colorful sound straightforward but clear sound slightly brassy at higher dynamics a bit muted tailored for softer tones strange sound with a muted sonority transparent and synthetic sound Pop Rock b
41. d for automation in live mode See 4 1 1 Middle Part Controlling Parameters in real time Automation of the live parameter Editing the real time parameter for an instrument in a riff When a real time control is deactivated in the Riff interface the parameter varies according to the Original sound preset in the same way as the Live interface This means that the starting value and the original automation in the instrument preset are taken into account When the option Activate is selected values drawn in the Riff interface of the parameter replace the original instrument preset values ARTURIA BRASS USER s MANUAL 47 5 Using Brass in MIDI 5 1 Live Mode In live mode using a MIDI controller is indispensable if you wish to truly lt lt play gt gt your instrument A MIDI controller is a physical interface a control keyboard or a pedal for example that permits control of your software by a MIDI protocol device One of the major interests of the physical model synthesis that are proposed in BRASS is the fact that they offer offer a control instrument close to that which we find on the original instrument Working on the keyboard will be more practical and used for the studio musician that searches to compose in a well known environment Controlling the pressure by a breath controller will give a degree of additional realism When controlling by the pedal device joysticks etc it can also permit yo
42. damages for loss of business profits business interruption loss of business information and the like even if Arturia was previously advised of the possibility of such damages Some states do not allow limitations on the length of an implied warranty or the exclusion or limitation of incidental or consequential damages so the above limitation or exclusions may not apply to you This warranty gives you specific legal rights and you may also have other rights which vary from state to state ARTURIA BRASS USER s MANUAL 78
43. e connections given in the presets can all be modified at your convenience For example connect the Velocity on the lt lt Attack gt gt and from then on it will be the force with which you push the key that decides the attack of the note If you link the After Touch to the pressure you can control the pressure sent to the instrument simply by pushing the key For more precision in the control of your editing it is possible to set the maximum and minimum limits of the editing in order to determine the range of action of the parameter To do this close the window lt lt MIDI Settings gt gt and return to the principal screen Click on one of the 2 small black arrows situated around the parameters to define the extremes of you editing A horizontal white line marks the editing threshold you just defined The nature of the response curve chosen for each connection can have an affect on the final results In the following example make sure that you have connected the velocity of the keyboard to the pressure parameter of the model saxophone A curve of this nature signifies that one weak push permits us to immediately attain one dominant pressure value In an inverse sense the curve implies that one must push strongly on the key to attain the true pressure needed Adjusting the curves depends upon your keyboard and on the results that you wait for in the playing phase Possible Response curves for the MIDI control parameters T
44. e scroll down menu while clicking on the arrow Choose the option none if you want to remove the instrument Choosing the option none doesn t remove the programmed notes for this instrument Choice of the sound preset connected to the selected instrument This menu will allow you to choose among the presets of available instruments in the Live screen Mute and Solo Button The button allows us to mute the instrument while the solo button allows playing only this one instrument ARTURIA BRASS USER s MANUAL 42 instrument Trumpet1 m 5 y Default J ae eS Default Default l Default Mute and Solo buttons 4 2 2 2 Riff properties Programming Time parameters Length riff length in number of beats Tempo speed at which the riff will be played in desynchronized mode see 4 2 3 Control of the riff mode in MIDI Tune riff tonality A click on the arrow makes it possible to either transpose the current riff to another tonality left click with the mouse or to change the basic riff tonality without transposing it right click in Windows and Ctrl click in Mac 4 2 2 3 Properties of each riff instrument The properties for each instrument in the riff mode are the same as in the Live mode see 4 1 3 Right Section Instrument Configuration These properties are loaded during the selection of an instrument preset but can be modified and saved with the riff If a preset modific
45. e vibrato frequency and amplitude Moreover the more dominant the humanization is the more the automation variation is limited i e the automation parameters become smoother For example an instrumentalist can t instantaneously make the pressure or the position of the mute change e Attack An instrumentalist can make several different attacks according to the pressure he gives to the beginning of the note or the way he lets the air pass etc It would be too complex to want to control and maintain all the types of attacks at the same time this is why BRASS offers 4 different types of attacks in order to adapt to all the playing modes The attack is different for each instrument Trumpet amp trombone Type 1 Direct attack without breath moderately brassy appropriate in most situations The transitions between notes are rather short Type 2 Direct attack very brass like and marked attack Is appropriate for pop sounds or brass band sounds which need to be crisp The transitions between the notes are very short Type 3 Attack with a lot of breath adapted to a more jazz or ballade type of playing The transitions between notes are short and long enough for values with a weak attack Type 4 Attack rather direct rather short and without breath Interesting for playing traditional orchestral trumpet parts The transitions between the notes are from short to fairly long Saxophone Type 1 Direct attack without bre
46. each parameter so that one A always remains an A independently of the reed parameters A bit of musical physics a bit of instrumental practice To play the saxophone the saxophonist pushes his bottom lips firmly against the reed and his top teeth against the mouthpiece The pressure must be equal in force neither too strong because the reed would then be closed off and will have a sound too dismal and weak nor too weak because the reed will begin to vibrate on its own oscillation frequency resulting in a false note The position of the lips on the reed is also important because if the mouthpiece is pushed too far into the mouth the pinch of the lips will not have enough control over the reed but if it is not pushed in enough the vibration on the length of the reed is reduced too much Once he has found the right amount of pressure the saxophonist breathes in the instrument by increasing the pressure in his lungs and mouth Once again this pressure must be strong enough to inject the proper amount of energy into the instrument allowing it to create and maintain the oscillations but not so strong that it risks holding the reed against the mouthpiece closing off the entry of air Pince ouverture de l anche Position sur l anche amortissement longueur vibrante Playing parameters Pinch on the Mouthpiece ARTURIA BRASS USER s MANUAL 19 7 3 2 Pressure It goes without saying that the most importa
47. echo produced by a trumpet in response to an acoustic impulse It is in some way as though we shot a rifle in a room in the form of a trumpet or trombone and saved the echo or reverberation returned by the room The impulse response on an instrument is made up of its acoustic signature and is an integral part of the physical model used in BRASS ARTURIA BRASS USER s MANUAL 71 The virtual trumpeter trombonist To define and shape the essential role held by a musician an artificial mouth was constructed the experimental device was fed in compressed air and possessed latex lips that really played the trumpet It is in any case much easier to measure the pressure at the interior of an artificial mouth than to convince a real musician to pierce his cheek One other advantage of the artificial mouth is to allow those conducting the experiments to modify one parameter of the cheek at a time and study the consequences of the sound produced at his leisure an artificial mouth doesn t need to breathe It is ideal for dissecting the physical mechanism playing a part of the production of sound and allows us to propose some convincing physical models in BRASS Aspect spectrum from dog 2 lt 2 gt lt 4 gt dod played by the argificial mouth dog played by a human trumpet player 0 5150 O S200 5250 spectrum gt dod played by the artificial mouth spectrum gt dod played by a human trumpet player i cnn l nN AN
48. er to do this branch several cables to the parameters of your choice from the same source gt In order to delete the connection click on the cables then press the button lt lt Delete connection gt gt gt You can also change the border extreme values between which the control parameter of MIDI will maneuver Close the page lt lt MIDI setting gt gt then click on the arrow surrounding one of the 8 synthesis sliders of the principal page ARTURIA BRASS USER s MANUAL 19 Pressure Pitch Timbre Moise Pressure Maximum MIDI Limit AA W Change the response rate of each modulation 3 1 2 Automation As an option it is possible to program the evolution of a parameter through time each time you press a key Thus you can program the beginning of a progressive vibrato or a light point of white noise in the sound attack To assign a modulation curve to one of the 8 available parameters gt Click on the button lt lt A gt gt situated above a synthesis fader in order to open the design interface of the curve Open for example the interface corresponding to lt lt noise gt gt Click on the lt lt A gt gt button gt You can choose the tool type that helps you design the curve that you wish to apply to the parameter Take the lt lt Crayon gt gt tool to design a curve by hand If we listen to the results we notice that the sound evolves in time as desired 3 1 3 To Save When the sound
49. ession in the playing technique is not the principal element the ensemble needs to be coherent with a good level of synchronization The sounds are very strong and the attacks are direct Most of the notes should be attacked without legato in order to give the phrasing a powerful and detached aspect The harmonies are simple in general there are unisons or often fifth intervals based from the beginning in order to hear several instruments playing simultaneously To create an interesting ensemble effect think about the effect of multiplication of BRASS instruments this quickly gives an impression of playing a section to the ensemble Make the principal attacks vary with pressure and tone usually raised even on the notes which have a weak attack Aaron Copland s Fanfare for the Common Man has a fair combination of separated and slurred phrasing that illustrates both extremes for this sub genre Also Respighis Pines of Rome has very strong trumpet and trombone parts in the section Appian Way Many modern film scores also use brass in this manner One should not be required to venture too far to find an example worth study and emulation This is only the tip of the iceberg The most important thing is to listen learn and most of all create ARTURIA BRASS USER s MANUAL 9 2 Installation 2 1 Notes about USB key protection and the installation The BRASS application is delivered with a USB key als
50. ety 4 1 3 3 Spacing The spacing allows placing the different instrument instances in a virtual room Move the instrument in the room by clicking on its representative icon Virtual instrument placement in the virtual room ARTURIA BRASS USER s MANUAL 36 Amount set the intensity effect This means the amount of reverberation added to the sound Color regulate the sound tonality of the room duller or brighter Dry Wet _ it allows us to set the proportioning of the effect from spatial sounds to a dense ambient sound 4 1 3 4 MIDI settings This window allows setting of MIDI controls for the selected instrument Use this screen to assign MIDI controllers such as the velocity the modulation or the aftertouch with instrument attributes such as the attack pressure or noise With this it s possible to control the instrument in real time in a way both flexible and easy to configure through any MIDI interface w 7 EG ie c x idi Settings Control type Midi channel v Keyboard Only w fie Midi connexions Velocity gt D Attack Aftertouch MS S Pressure Hodulation wheel S gt Pitch Pitch Bend amp xn NSD Timbre Breath controler SNS W Noise gt ND Vibrato NS Vib freq Onc Midi Settings Screen In this window we find Type of Control wished The Midi channel of reception The Sensibility settings of the keyboard A short list presenting the standard types of MIDI contr
51. eyboard permits us to test the sound directly in BRASS with the help of the mouse When you push on the key the velocity controller is a function of the position of the mouse on the key The farther toward the bottom that the key is clicked the higher the velocity is raised On the left of the keyboard the two modulation wheels permit both to test the reaction of the pitch bend and the modulation It also permits us to view their position from the control by a MIDI keyboard ARTURIA BRASS USER s MANUAL 38 When using an external MIDI controller you can view the arrival of MIDI messages when the MIDI Input indicator to the top right of the keyboard flickers The notes played are also indicated in color on the virtual keyboard of BRASS Key switches on the Trombone For the trombone the usage of the slide has several modes able to be selected by the keys of the keyboard called Key Switches The different modes accessible are the following 4 2 Legato mode the first two keys of the keyboard colored in green and indicated by the letter L legato permit us to switch between the long legato mode and the short legato mode of the trombone When one pushes on the low C colored in green the mode selected is short When one pushes on the low C sharp the mode selected is the long legato In the two modes the value of the Attack parameter lightly changes the legato time for a short legato O to abo
52. f arrangements in different musical styles gt To load all performance parameters for a particular riff simply click on a preset in the list To play the riff on repeat click the button lt lt Loop gt gt To stop the riff reader click on lt lt Play gt gt again ARTURIA BRASS USER s MANUAL 22 Click on the lt lt Play gt gt button to stop the riff reader You can also place a riff on one note of the keyboard on the screen to map that particular riff to on note on your MIDI keyboard gt Choose a riff in the list then move it by dragging and dropping it on one of the virtual keyboard keys situated at the bottom of the Riff window left part of the keyboard An orange triangle indicates the position of the riff on the keyboard gt To stop the reader click on the lt lt Stop gt gt button Place a riff ona MIDI note gt To transpose the riff click on one of the keys in the orange zone right part of the keyboard You can also activate this transposition on your MIDI keyboard by playing a key corresponding to this orange zone To transpose a riff click on one of the keys in the orange zone gt To delete a riff placed on a key right click on the corresponding key and choose the lt lt Remove gt gt option ARTURIA BRASS USER s MANUAL 23 3 2 1 Editing a short riff Note editing grid Play loop buttons 3a Parameters and DEAF 7 ele bar activity E Acti
53. f these plug ins to allow the host application to use them If you don t know how to do this go to chapter lt Protocol Chapter gt ARTURIA BRASS USER s MANUAL 11 RTAS Directory Please choose a ATAS directory Path C Program Files Fichiers communs Directories Program Files B Fichiers communs Cancel C Adobe CG Crustal Decisions Designer Drez E c Ae seau Select installation folder for plug ins gt Next the installation program proceeds with installation of the Syncrosoft USB key driver and License Control Center In order to do this it will execute the available Syncrosoft installer of the CD Rom Follow the instructions of the installer Eb LPT Cryptoprocessor Support Syncrosoft LPT Driver Support ypto amp security solutions You may choose to install the drivers for the LPT License Control Protection Device Choose this option only if you have a LPT device connected to your computer M Install the drivers for the LPT Protection Device Click lt Next gt to continue the installation Click lt Cancel gt to end the installation process Back Next gt Cancel Syncrosoft Installation The installation program now has enough information to finish In a few seconds you will be able to use BRASS ARTURIA BRASS USER s MANUAL 12 2 3 Installation Mac OSX gt First remove any Syncrosoft USB key fro
54. g Ins On Windows at the time of the installation procedure select the RTAS plug in among the proposed choices of plug ins Then when the system asks indicate the folder in which the other RTAS plug ins are located Usually its access path is C Program Files Common Files Digidesign DAE Plug Ins 6 4 2 Utilization of the plug in 6 4 2 1 Opening of the plug in Access to the BRASS plug in is like all other plug ins via an audio track insert ARTURIA BRASS USER s MANUAL 65 Pro Tools LE 6 9 File Edit AudioSuite MIDI Movie Operations Setups Display Windows Help m oO Wed 14 52 m ANDO BRASS Project 1 shuttle spot FET QYeoleale any gt ie Star ols Ea a E i w Oe Le 2 ELLEI enn ee Sub ength oc a Tw p a z belle gt v Nudge Grid aaa fc no insert aaa i aS owo ono o 20 oso oso sooo tot multi channel plug in o 1000000 200000000000 multi mono plug in gt Dynamics pd120 SSS O Reverb Delay Modulation Dither VLAGA GAA Modular V stereo FXpansion BFD All stereo FXpansion BFD Stereo stereo afto Ableton Live stereo BFD ReWire stereo Storm 3 stereo mini V stereo Modular V 2 stereo ol CALL MIDI 1 01 AN 57 items 2 46 GB available Opening BRASS in Pro Tool BRASS must be loaded on an audio stereo track We can now make BRASS sounds by playing with the mouse on the
55. g and editing of riffs in real time These two modes correspond to the Live and Riff screens of the software 4 1 Live Mode Live mode of BRASS permits real time control of the trumpet saxophone and trombone to configure instruments and use presets Configuration instrument Trumpet Trumpet i j Saxo minre Trombone 7 Number 1 Preset Spacialization Salsa lead Smooth Midi Settings File Attack Pressure Pitch Timbre Noise Vibrato Vib freq Mute n Midi Chan A A A A o A fa E Ha a2 4 5 m E mo r All New Save Save As g i Midi input 2 E i f i Delete Import Export u U Live screen of BRASS Interface can be divided in four parts Center Section We find the current instrument visualization and the playing parameters controllable in real time The value of each parameter is displayed in a dynamic controller zone each zone being a different color in order to quickly mark the changes in the sound Left Section Contains instrument preset control which permits the saving creation deletion importing and exporting of the instrument presets Right Section Displays configuration elements of the current preset along with the instrument settings including spacialization and MIDI control Bottom A virtual keyboard with the modulation and pitch wheel control which allow us to play or test the sound of the instrument with the mouse ARTURIA BRASS USER s MANUAL 2 4
56. g channels choose the pair of output channels that you wish to use 6 1 4 Information on CPU usage The usage gauge of the processor permits you to monitor the amount of CPU usage in real time for each instance of the Brass standalone application e On PC this gauge is directly visible in the utility bar of the instrument e On Macintosh you can view it by choosing the application menu window gt CPU or by choosing lt lt Command gt gt L Attention this reading only shows CPU usage per instance of BRASS therefore it is only part of the overall usage of the system 6 1 5 Panic It is possible to send a MIDI ALL NOTES OFF message to the instruments in order to cut all the notes that won t stop e On PC click the icon lt lt icon gt gt in the utility bar of the instrument e On Mac this command is accessible in the help menu gt Panic or by going lt apple gt lt option gt P ARTURIA BRASS USER s MANUAL 58 6 1 6 Saving the configuration Saving allows you to not only keep the state of an instrument but also the tonal parameters as well as the MIDI configuration and audio routing gt To save a configuration simply select the document menu gt Save or document gt Save under for saving the configuration under a new name Attention This pertains to saving a configuration in the BRASS standalone application Saving the tonal parameters of the instrument has nothing to do with saving the ton
57. he action of the parameter gt Choose the lt lt crayon gt gt tool in the tool box then draw a curve by hand v Pressure E v EUG Design a Curve You can also choose the type of tool that will help you design the curve you wish to apply to the parameter gt Click on one of the 5 last options of the utility bar to apply it to your curve Take for example the lt lt line gt gt tool 122 oem Click the lt lt line gt gt tool gt Design a climbing line starting at the beginning of the grill to lead the pressure progressively gt Save your Riff preset by clicking on the lt lt Save As gt gt button This will create a copy of the current preset Choose a new name by double clicking on one of the 3 fields It s possible to import a previously programmed riff and format it to a MIDI file In the same way a new riff composed in BRASS can be exported in the same format ARTURIA BRASS USER s MANUAL 25 3 3 Using Brass in MIDI As we have previously seen it is possible to play an instrument directly on a MIDI keyboard or through a sequence coming from a MIDI sequencer Additionally BRASS can be controlled with the help of a MIDI breathe controller uniquely in lt lt Play gt gt mode gt To do this return to lt lt Live gt gt mode then choose the lt lt Keyboard breath controller gt gt option in the lt lt MIDI Settings gt gt page Control type Keyboard Only Keyboard Only
58. her products logos or company names quoted in this manual are trademarks or registered trademarks of their respective owners ARTURIA BRASS USER s MANUAL 2 Thank you for purchasing the ARTURIA BRASS In this package you will find e a CD ROM containing the BRASS installer for MAC OSX and Windows XP 2000 e apaper manual for BRASS e a USB Syncrosoft protection key you will need to run BRASS e the Authorization Card below Carefully store your USB key and your card The USB key will be required any time you run BRASS so your key is the real value of your product See chapter two for more information about how the key works We recommend that you register your product By registering you identify yourself as the legitimate owner and will be sure to receive the latest news and updates for your product After registration you will receive a user ID and password in order to access a protected area on our site It also puts you on our user notification list so that you can be the first to know when there are updates or new product offers ARTURIA BRASS USER s MANUAL 3 Brass Go beyond sampling There is nothing original in noticing that the center of musical creation has switched to the computer platform during the last decades The evolution of composition modes associated with software sequencers and hard disk recordings along with virtual instruments and effects have undeniably had an impact on the nature
59. ilence a note Envelopes In regard to the evolution of the physical parameters there are three possible types of transitions e Attack when the instrument is silent and the musician plays a new notes e Relaxation when one is being played an the musician wants to stop e Transition between notes Attacks Starting a musical phrase or passing from silence to a note can be done in several ways fast slowly in between and with varying amounts of energy The choice of type of attack is up to the musician but it must obey certain conditions so that the start of the note is done correctly For example with certain low notes it is often necessary to apply strong pressure for a short interval so that the oscillation can begin then reduce the pressure to arrive at the desired intensity In other cases the initial impact of pressure may sometimes be strong enough to start the note but it will Start the note slowly In this situation one must increase the pressure to an amount more than the volume of the note simply to facilitate the speed of the attack otherwise the note would begin much slower than desired For an actual saxophone it is the musician who automatically generates these variations This gesture can be reproduced with a breath controller for example but when we play on the keyboard the synthesizer must reproduce these gestures automatically for each note In our case an Attack Decrease envelope is not only applied to p
60. interface click on a type of connector and connect a controller Velocity type to a parameter Attack type by holding the button of the inserted mouse gt Four MIDI controllers freely assignable are available To assign them to the desired controller click on the corresponding Detect button and move the desired MIDI controller gt If you wish to assign more than four assignable MIDI controllers you can repeat the operation The controllers already assigned won t be lost but they will no longer be visible on the interface In order to view them again start the detection manipulation with the button Detect again gt To delete a connection select the desired connection and click on Delete Connection e Connection settings Each connection between a MIDI controller and a real time parameter can be configured according to a response curve Click on the connection you have to configure and it appears in color The connection can be set in different ways with curves which increase rapidly from the very beginning with curves that slowly increase upwards downwards or anywhere in between The control parameter can also be reversed Take into consideration the different types of controllers and their action on the parameters to which they are linked notably the pitch bend and the aftertouch see 4 1 1 3 Real Time Settings Controls in real time pitch bend and aftertouch 4 1 4 Virtual Keyboards in BRASS The k
61. ion You can open one or several instruments and play directly with the help of a master MIDI keyboard or external sequencer on a separate computer 6 1 1 Launching the Stand alone application gt To launch the Stand alone application on your PC go into the Start menu gt Programs gt Arturia gt BRASS and choose BRASS gt On a Macintosh open the folder Applications Arturia BRASS and double click on the application icon BRASS You can also double click on a previously saved document in order to open the corresponding configuration of the BRASS application This will be described in Section 6 1 6 of this document 6 1 2 Preference Configuration gt In order to access the preferences window click on the menu Document gt PC Preferences or BRASS gt Preferences on Macintosh This window allows you to configure the global preferences of the BRASS application These are saved automatically Pa Configuration Audio protocol Direct y Audio driver Inteltr Integrated Audio Sample rake 44100 Audio latency 99 ms knob control type Circular Preferences in Windows ARTURIA BRASS USER s MANUAL 56 aon k Configuration Audio driver SoundSticks FA Sample rate 44100 H Audio latency 9 ms i a Knob control type Circular HH The preference window Audio protocol PC only Select the audio protocol that you wish to use The ASIO driver offers some increased perfo
62. ion window MIDI Settings The limit between the two zones can be moved by clicking on the keyboard of the MIDI Settings window Adjustment of separation enters the riffs and chords with the mouse The Trig on option allows starting the riff while pressing a key in the riff zone or in the chord zone This option allows us for instance to not start a riff before having fixed the chords and transposing the riff in progress without restarting it Trig on Riff On the contrary it is possible to Start a single riff in several following tonalities quite simply Trig on Chord The Hold Riff and Hold Chord options make it possible to release the pressed key while continuing to play the beginning riff thanks to a combination of keys in the two zones Riff and Chord ARTURIA BRASS USER s MANUAL 44 4 2 4 Editing Riffs When a riff is selected we can listen to and edit it in the piano roll window above the riffs explorer You find three buttons located in the middle of the Riffs screen Tostart or stop the player press on the P button e To puta riff into a loop press on the lt b button e The button located in the middle of the Riffs screen brings up a panel presenting the editing tools and a display of real time parameters for each instrument A line displaying the presets remains visible below the editing zone and allows navigation of the different banks as well as selection of different preset
63. is the best moment to insert a brass section musically and creatively speaking is often the work of a brass arrangement specialist But what do you do if you are not a brass arrangement specialist First of all listen to and emulate other songs of your chosen genre Basing your arrangement on the approach of a known work is a well worn tradition in many musical styles Also be creative Don t think that brass is limited merely to the styles of music where we are accustomed to hearing them Used appropriately brass can give a hot lively touch to your piece regardless of whether your style of music fits neatly into a pre defined category Next determine what role you want to give to your brass section You can use it as accompaniment marking transitions or strong moments in the piece where it serves as a response to a melodic line with singing for example A brass section can be used to create melodic phrases for introductions as the principal themes of a piece or even to be played along side with other instruments Lighter arrangements arrangements less present in the mix can also serve as the counter melody or harmonic reinforcement A single instrument can be used occasionally to punctuate a melody and more than that as an instrumental solo in a transition or bridge Finally consider the arrangement itself Don t try to over load it or do too much A simple expressive horn line can be highly effective Appreciate the work of
64. ish the different instruments in the arrangement The phrasing has the role of accompaniment to the melody but is also found very often in refrains guiding the melodic line Horns can also serve as a rhythmic complement from a harmonic base Reggae is a style that permits a large amount of creativity and liberty for the usage of BRASS It is therefore natural that you can begin to integrate the riffs and different parts of brass very early in the creation of a piece Begin by determining what different roles it is going to play throughout the arrangement and then by selecting or creating the riffs and phrases so that each instrument is discernable in the mix However in the relatively open arrangements of Reggae music horn lines do not need to have a very high sound volume to be correctly mixed and heard Of course the most important part of the reggae horn line is how it interacts with the riddim Just about any reggae song with a horn line will provide a general sense of the genre but some obvious discography choices would be anything from either of the Marley brothers or Burning Spear 1 3 Dance Funk Brass instruments are very important in this style It brings the bright festive energetic and rhythmic touch that these styles demand The spread of dynamics are important and play an integral part of an effective arrangement Therefore the level of expression in your instruments particularly the attack will require a great deal of foc
65. ization depends on the selected resolution value 1 4 Note 1 8 Note T etc h quantization 12 Note uantize start times wf 1 4 Note S Quantize durations 1 8 Wote Appl quantize 1716 Note 11 Not 1732 Note _ nee 1 64 Note 1 2 Note T 1 4 Mote T 18 Note T 1 16 Note T 1 32 Mote T 1 64 Note T Access to the quantization options The ARTURIA BRASS USER s MANUAL 46 gt To quantize the beginning of the notes click the option Quantize start time gt To quantize the note length click the option Quantize duration gt The quantization will be applied when you select the option Apply quantize of the menu gt To reset note placement select the option No quantization 4 2 4 4 Editing the real time controls The real time controls available in the live section Attack Pressure Pitch Tone Noise Vibrato Vibrato Frequency and Mute can be separately edited and saved for each instrument in the riff To open the editing panel of the real time controls select the button in the middle of the Riff interface This same button once the panel is open changes into a Clase button and allows you to come back to the riffs explorer display The editing panel makes it possible to select one of the parameters to activate its control in the riff Activate button and to draw the controls with different tools Those tools are the same as those use
66. long and difficult training demanded by the real instrument Due to this with BRASS you do not need to know how to use breath control or tighten your lips to make a note Why We have in a way taught the model how to produce notes or desired effects while playing naturally from a keyboard This setting of the model parameters has also benefited from recent research since an optimization procedure was specially developed The algorithm starts as a beginner might it tests thousands of different values at first randomly but at its rate of progression it allows chance to intervene less and less in its training By the end the algorithm has determined the optimal values for the model parameters to produce the varied notes and effects You have nothing more to do than to be inspired 7 3 The saxophone 7 3 1 Musicians Technique How does it work As is true with other wind instruments while playing a note on the saxophone two elements of the instrument oscillate in synchronization the air stream contained in the resonator and the reed vibrating on the mouthpiece These two components are not necessarily the exact same oscillation frequency and can also be different from the note played this means that if we played only the reed by removing the mouthpiece from the rest of the instrument we obtain an extremely sharp sound a false note generally above any other note that the saxophone can produce We can produce a sound specific to the resonator
67. m the computer during installation If your key is connected unplug it before beginning the installation procedure gt Insert the CD ROM into the drive Explore the contents of the CD ROM and double click on the icon called lt lt BRASS mpkg gt gt gt The installation program requiring administrative rights may have the system ask you to enter the login of an administrative user of the system In this case enter your login and administrative password and click on OK to continue the installation gt After the software license has been validated the installation program will select the system disc as target by default It s not possible to install BRASS on another disc Click on continue to proceed with the installation ean Install Brass Select a Destination 5 introduction Select a destination volume to install the Brass software 5 License Select Destination nstallation Type nstalling Panther Data Finish Up 6 2GB 677MB Free 6 2GB 64 6GB Free Installing this software requires 41 1MB of additional space You have selected to install this software on the volume Panther GoBack Con tinye Choice of installation disc BRASS will automatically install as a standalone application functioning independently and apart from any sequencer host In the same way all the available protocols VST Audio Unit and RTAS HTDM will be installed For more information on th
68. meters for each instrument Left the configuration of the selected riff with the choice of instruments length and riff tonality and the buttons used for riff managements saving etc Right is the configuration part of the instrument and the selected riff with the spacing and MIDI control parameters Bottom is the keyboard which can be used to trigger riffs according to the mode chosen by the user in the MIDI configuration menu 4 2 1 Riffs selection presets management BRASS contains an ensemble of riffs with several different styles and configurations The lower central part of the Riffs screen called riffs explorer allows us to classify and select the riffs and contains 4 columns Style musical style of the riffs Instruments instrumental configuration of the riffs Riff view the riff names which correspond to the two preceding criteria Modif indicates if the corresponding riff has been modified in comparison to the saved version ARTURIA BRASS USER s MANUAL 40 The riffs are classified by style and then by instrument For each style the following configuration is available Section Trumpet Trombone Saxophone If a riff has been selected a star will appear on the same line When a modified riff is saved the Star indicating the modification disappears To return to the saved version of a riff you can right click on the star windows or click while pressing Ctrl key Mac and then
69. mpler The automation begins with the parameters current value set with the mouse or using a MIDI controller The automation value added to the parameter is seen through a change to a clearer zone of the real time controller Thus you can visualize the controller s original value and the automation effect on his current value at the same time Pitch Timbre Noise AL A AL Automation of a parameter value In the automation window you find the following buttons and settings On Activate or deactivate the automation on the corresponding parameter Loop Activate or deactivate the loop mode on the automation When the loop is deactivated the automation is read only once Sync Synchronize the speed of the player of the automation window on the tempo sequencer ARTURIA BRASS USER s MANUAL 30 Delay Delay the automation release This option makes it possible to launch the automation player a certain time after pressing the key Speed Automation of the player time In synchronized mode to the sequencer mode the player time is displayed as a fraction of time Amp Sets the automation amplitude Pressure Delay Speed Amp 0C a loop f Midi sync 755 50 25 ao Edition screen of parameter automation e Curve units The horizontal time and vertical amplitude scales are updated when you modify the Delay Speed and Amp controllers A vertical bar makes it possible to follow the course
70. nds of parameters In the section lt lt MIDI Settings gt gt of BRASS you can decide to allot the diverse controls offered by the keyboard to the playing parameters of the software The ideal is having a maximum of controllers assigned to a few free modulations in real time vi JR CFE pips idl Secuings Control type Midi channel v Keyboard with Aftertouch Midi connexions Velocity Attack Aftertouch Pressure Modulation whee Pitch Pitch Bend Timbre Breath controler Noise Vibrato Position Mute OO ON ORC O 0 AN O 0 ar 4 iT x J Ht Midi Settings Panel 5 1 1 1 The MIDI adjustment configuration panel Before making your adjustments begin by selecting the type of controller you wish to use Three choices are possible e Keyboard Only e Keyboard with aftertouch ARTURIA BRASS USER s MANUAL 49 e Keyboard breath controller The instrumental presets available in BRASS are adjusted differently for each of the control modes In the first case we will choose Keyboard Only or Keyboard with Aftertouch The MIDI channel corresponds to the MIDI channel that you wish to use for the BRASS control by your keyboard We suggest always keeping the ALL adjustment unless you plan to have your computer receive MIDI signals from other software In that case you can choose to limit the MIDI exchange to a given channel Make sure that your keyboard sends these signals to the same channel Th
71. ng riffs in a sequencer 5 2 2 1 Riff Synchronization with external sequencers One of the useful attributes of this mode is the ability to play the riffs with an external MIDI sequencer by opening BRASS in VST mode for example You can launch the riffs by playing notes in a sequence created and synchronized on the host sequencer In this case choose the option Sync to Host in the MIDI settings window so that the riff reader is synchronized in tempo with the MIDI sequencer lemvosn OD TET sync to host sync to tempo Choose the Sync to Host option In order to save a maximum charge on your CPU we highly suggest using Riff mode as much as you can when you wish to play a brass section with a MIDI sequencer rather than opening several sessions of Brass in Live mode ARTURIA BRASS USER s MANUAL 53 5 2 2 2 Importing Exporting Riffs You can also compose Riffs in MIDI directly by opening several sessions of BRASS as long as the number of VST plug ins matches the number of instruments in your Riff Choose Play mode to hear the sound of each instrument and assign the necessary connections to the sound controls You can create the sequence of notes then make the control automations that correspond to the instrument playing gt Make sure to create as many tracks as there will be instruments and reserve channels 1 2 3 and 4 to assign to 4 instruments EE a a an a a a a aaa a 4 om
72. ngth Roughly speaking by opening a hole on the saxophone we shorten the air stream vibration length up to the point of the hole Holes Open Acoustic Pressure Position on the Resonator Holes Closed oe za B zz f Fosition on the Resonator Different positions of the Resonator ARTURIA BRASS USER s MANUAL 74 In the world of virtual saxophones the instrument makers are less limited to these questions of practical order and it is much easier and more flexible to reduce the length of the resonator than to introduce 10 to 15 holes on the virtual resonator Role of the Reed We have seen that the reed also plays its role on the pitch when an instrument produces a note Normally it cannot change the frequency of the note produced more than a fraction of the tone in relation to the notes selected with fingerings These small variations in the frequency are used to produce for example vibrato Moreover the reed offers the saxophonist much more flexibility than the resonator because there is much more liberty to change pressure on the reed breath etc This control translates physically into a number of parameters that influence more or less the timbre color of the results One problem with these parameters is that they can influence the frequency of the final note at the Same time In BRASS we free ourselves of this problem by precisely determining the variation of frequency produced by
73. nstruments quite easily It offers 3 types of instruments the trumpet tenor saxophone and trombone either in solo or ensemble modes The BRASS software is divided in two parts Live and Riff modes 3 1 LIVE mode ARTURIA BRASS USER s MANUAL 15 Live Mode rive hill Wanigertion je nstrument Instrument Sie Confiquration Preset ae Trumpet manager Midi q Saxo Trombone Preset Spacialization JMIB1 fabrice o hle E i WJ Spacialization Settings Midi Settings Files Attack Pressure Pitch Timbre Noise Vibrato Vib freq Mute A tj LA A A AJ A manager Aa Midi Chan All amp T E a1 Ud I Midi input IBALL rare Synthesis Virtual Settings Keyboard Midi Settings f unu TT bikie E a Live Interface ARTURIA BRASS USER s MANUAL 16 As the name indicates the lt lt LIVE gt gt mode is designed to play in real time on a MIDI keyboard or with the help of a breath controller It is also in this interface that you can change the tonal characteristics of each instrument and create new presets By preset we mean instrumental settings that permit you to obtain a particular sound and performance response The Live mode window is composed of three distinct parts on the left side resides the preset and document manager in the center is the synthesizer in real time and finally to the right the general configuration that
74. nt attribute of the process is the air pressure imposed by the musician when he breathes into the mouthpiece This factor largely affects the note s sound volume because it is the pressure provided by the instrumentalist that injects energy into the saxophone If the pressure is too weak there will not be enough energy to maintain the oscillation in the instrument we say that it is below the threshold of oscillations However if it becomes too strong the pressure forces the reed to a nearly closed position against the mouthpiece after a certain amount of pressure the reed will stay stuck against the mouthpiece impeding the flow of air into the instrument we say it is above the plating threshold To simplify a bit if the musician doesn t breathe enough or breathes too much he will not obtain a sound Luckily there remains a large range of possible pressure More than the sound volume the timbre varies a lot between two limits a more muffled sound for weaker pressures and brighter sound for a stronger amount of pressure Enriching the timbre while increasing the pressure corresponds to the shocks between the reed and the mouthpiece leading to a progressive distortion of the sound wave Timbre Next we will talk about the pinch of the lips on the reed this causes the position of the reed equilibrium to vary in its range of vibration We can say at first approximation that this parameter makes a scale of reed oscillations making the pressure
75. o called lt lt dongle gt gt This key contains your Brass license and authorizes the software to function To use the software on a different machine simply install the software on that computer and then plug in the USB key In this way you can use this system key to install licenses of other Arturia products or other products that use Syncrosoft technology and carry the license from computer to computer as you wish In order to function correctly the USB key driver must be already installed on your system The installation program for the Syncrosoft License Control Center is available on CD Rom and will be launched automatically when you install BRASS You can also download the latest version at this address http syncrosoft com downloads Once you have installed the driver an application called lt lt License Control Center gt gt allows you to manage the installed licenses on your key On Windows this application and its documentation are available via the menu Start gt Programs gt Syncrosoft On Macintosh this application is installed in the Application folder of your system and the documentation is available from the Help menu of this particular application Important Note Your license number and thus the dongle on which it is installed represents the true value of your software To lose the USB key is to lose the use of the software on which the licenses are installed Take special care of this USB key
76. ol The MIDI reception channel of the controls The list of the available MIDI controllers The list of available parameters The parameters of the selected connection e MIDI settings configuration Each preset has three possible modulation configurations keyboard keyboard with aftertouch keyboard and breath controller ARTURIA BRASS USER s MANUAL 37 Each configuration has its own setting those of the factory presets are made in a homogenous manner Think to edit each configuration if you want your preset to have an identical output regardless of the configuration used e Midi channel of reception Allow the Midi messages to filter in fuction of their channel The ALL setting permits us to receive the Midi messages coming from all channels e Sensibility of the keyboard settings The sensibility of velocity and aftertouch differ between the MIDI keyboards on the market and the control of an instrument is a function of its sensibility In order to gain the best attributes of the control in Brass the sensibility curves of the velocity and the aftertouch can be adjusted by two faders These settings are applied throughout the BRASS software no matter the preset or parameter experiment with different settings in order to obtain a maximum expression with the different configurations of MIDI Settings of presets e Connection of the controllers to the parameters gt To connect a MIDI controller to a parameter of the Live
77. or oscillation Noise When the instrumentalist breathes strong enough into the instrument the release of air becomes more and more turbulent and formulates the sound of breath affected by the acoustic response of the resonator When the pressure of the air is not strong enough to generate the reed oscillation below the oscillation threshold we only hear the sound of breath if we were to increase this air pressure step by step it would begin to approach the oscillation threshold and the breath noise would slowly but surely gain the sound characteristics of the instrument Above the threshold the noise is added to the sound of the note giving it the real timbre of the saxophone The proportion of noise in the final sound is thus adjusted to this parameter Attention if the sound of breath is too strong the principal note can be disturbed or even stopped Instrument Control The parameter setting on the principal BRASS window does not signify that the physical parameters apply to the instrument neither when it is applied in a way that is constant with all the notes nor ARTURIA BRASS USER s MANUAL 76 while playing one note It would not be realistic because the instrumentalist does not maintain constant pressure or pinch throughout a musical phrase it would not be desirable either because the instrument often needs variations of parameters to change states saying that you can either change from one note to another or s
78. ose protocols go to chapter 6 Next the installation program proceeds with installation of the Syncrosoft USB key driver and License Control Center In order to do this it will execute the available Syncrosoft installer of the CD Rom Follow the instructions of the installer The standalone application will be installed in the applications folder and the different plug ins will be installed in folders reserved to each type of plug in ARTURIA BRASS USER s MANUAL 2 4 Registration Once your software has been installed we recommend to you to register online as a licensed BRASS user This registry isn t obligatory but it is highly advised It gives you the access to reserved resources for new presets and will make you the first to know when updates are made available There is a product registry card in your software box which contains your Arturia license This license permits you to register and identify yourself as an Arturia customer It will be asked for when you are registering You will find this registry form at this address http www arturia com en userzone php ARTURIA BRASS USER s MANUAL 14 3 Quick Start This chapter will introduce you to the general principals of the functions in Brass You will find a precise and detailed description of each function in later chapters BRASS is a virtual instrument that offers the possibility of programming and playing different brass i
79. ou find a lot of pleasure in playing and composing with BRASS software It is based on years of research and development and we wanted to present a device easily understood that s ready for you to use right now Enjoy your new musical instrument and let us Know what you think We re always looking and listening for new ways to connect musicians with cutting edge technologies and your input is important to us Don t hesitate to give us your feedback by emailing us at info arturia com or by selecting an option from the Contact page on our website at http www arturia com Musically yours The Arturia and IRCAM development team 1 Introduction Arranging for BRASS 7 1 1 Pop Rock 7 1 2 Reggae 8 1 3 Dance Funk 8 1 4 Jazz 8 1 5 Classical 9 1 6 Fanfare Military 9 2 Installation 10 2 1 Notes about USB key protection and the installation 10 2 2 Windows Installation 10 2 3 Installation Mac OSX 13 2 4 Registration 14 3 Quick Start 15 3 1 LIVE mode 15 3 1 1 Management of documents 17 3 1 2 Automation 20 3 1 3 To Save 20 3 2 Riff Mode 21 3 2 1 Editing a short riff 24 3 3 Using Brass in MIDI 26 4 User Interfaces 27 4 1 Live Mode 27 4 1 1 Center Section Controlling Parameters in real time 28 4 1 2 Left Section Instrument Presets 32 4 1 3 Right Section Instrument settiing 33 4 1 4 Virtual Keyboards in BRASS 38 ARTURIA BRASS USER s MANUAL 9 4 2 Riff mode Presentation 39 4 2
80. ressures like the pinch and the breath sound The attack parameter in the BRASS window sets the attack time and rate simultaneously and the decrease time to simulate the attacks is more or less flexible Moment of Attack Pressure Percentage of decrease Decrease Time Attack Figure ARTURIA BRASS USER s MANUAL 11 ARTURIA BRASS LICENSE AGREEMENT Grant of License In consideration of payment of the Licensee fee which is a portion of the price you paid Arturia as Licensor grants to you the Licensee a nonexclusive right to use this copy of the BRASS program hereinafter the SOFTWARE on a single computer at a time All rights not expressly granted to Licensee are reserved to Arturia Software Ownership As the Licensee you own the disks on which the SOFTWARE is recorded or fixed Arturia shall retain full and complete title to the SOFTWARE recorded on the enclosed disks and all subsequent copies of the SOFTWARE regardless of the media or form on or in which the original disks or copies may exist This License is not a sale of the original SOFTWARE Copyright Restrictions This SOFTWARE and the accompanying printed or written materials are copyrighted Unauthorized copying of the SOFTWARE including those instances where the SOFTWARE has been modified merged or included with other Software or of the printed or written materials for any reason is expressly forbidden Licensee may be held liable for copy
81. right infringement which results from such unauthorized copying Restrictions on Use Licensee may physically transfer the SOFTWARE from one computer to another provided that the SOFTWARE is used on only one computer at any one time Licensee may not electronically transfer the SOFTWARE to multiple computers over a network system Licensee may not distribute copies of the SOFTWARE or accompanying materials to others Licensee may not modify adapt translate reverse engineer decompile disassemble or create derivative works based on the SOFTWARE or it s accompanying printed or written materials Transfer Restrictions Licensee shall not assign rent lease sell sublicense or otherwise transfer the SOFTWARE to another party without prior written consent of Arturia Any party authorized by Arturia to receive the SOFTWARE must agree to be bound by the terms and conditions of this Agreement LIMITED WARRANTY AND DISCLAIMER Limited Warranty Arturia warrants that the disks on which the SOFTWARE is furnished to be free from defects in materials and workmanship under normal use for a period of thirty 30 days from the date of purchase Your receipt shall be evidence of the date of purchase Any implied warranties on the SOFTWARE are limited to thirty 30 days from the date of purchase Some states do not allow limitations on duration of an implied warranty so the above limitation may not apply to you All programs and accompanying materials are pro
82. right sound full and powerful Jazz warm sound a bit laid back Reggae bright sound and a bit of sour Ballade subdued and velvety sound Wood strange sound with a muted sonority Glass transparent and synthetic sound ARTURIA BRASS USER s MANUAL 34 e Instrument number This allows multiplying up to four times the number of identical instruments playing at the same time In doing this we can give an instrument the sound of an ensemble each element of the ensemble varying in a natural way and being placed distinctively in its own way see 4 1 3 Right Section Instrument configuration Spacing e Humanization This attribute is useful to make the sound of the instrument livelier even a very good instrumentalist never plays the notes the same way a computer does The breath pressure the tension of ones embouchure and many other aspects are always fluctuating It is what gives the sound its living aspect The humanization attribute allows us to reproduce the tendency of an instrumentalist to fluctuate in the way he plays Set on Computer no fluctuations will be sent to the sound On Human the variations of the sound will be those normally produced by an instrumentalist The Beginner setting makes it possible to strongly exaggerate those fluctuations as a beginning instrumentalist might play The humanization varies the following aspects in a very human like manner The pressure The noise Th
83. rmances in relation to the Direct X drivers Audio driver Here select the driver corresponding to the sound menu that you wish to use Sampling frequency Here choose the sampling frequency among those proposed by your sound menu Note that a large sampling frequency will demand increasing processor performance on your computer Latency PC only with Direct X protocol Here you can configure the optimal audio latency as it relates to performance of your sound card Be careful with this setting as a latency setting lower than your system can support can cause unwanted artifacts in the sound Configuration panel PC only with ASIO protocol this button opens your audio card s configuration panel if it is available Fader control here choose the fader control mode of the instrument With linear control the mouse is moved vertically to assure the fader rotation with circular control the mouse must trace an arc around the fader in order to modify the knob position on screen Instrument configuration utility bar Each instrument carries a utility bar allowing routing of MIDI input channel range and transpose parameters as well as the audio output channel selection Chan All Range Uctave 0 Out Mbox Analog Digital 1 REA The PC utility bar All eB az Aspi o G 127 59 o If SoundSticks 12 HA MIDI input MIDI channel Keyboard range Octave Audio channel The Macintosh utility bar ARTURIA
84. s the behavior is different from that of other controllers e Pitch bend The pitch bend wheel returns to its central position when it is released A controller assigned to pitch bend also returns to its original position For example if you assign the keyboard pitch bend with the Live interface pitch the real time controller will always return to his steady position normally pitch 0 no matter what the positions of the MIDI control amplitude arrows are e After touch The aftertouch is released after pushing on key of a MIDI keyboard It changes the sound in function of the force applied to the key once the key is pushed Due to this the modulation obtained with the aftertouch start with the initial value of the real time control and changes this value in function of the Midi setting parameters For example if we assign the Velocity and aftertouch controllers to the pressure parameters the initial value of the pressure is defined by the velocity of the playing Pushing on the key with a force that is more or less strong edits the pressure parameters 4 1 1 4 Automation of Live parameters All the parameters of play Live can be automated except for the Attack By clicking on the A button above the parameter name you open an automation window corresponding to that parameter The automation allows you to vary the parameter value for each note making it possible to play more realistically while making interpretation and control si
85. s tine chn 1 out Brass Sax e 0 00 a cnn v m s MTA R W Volume ih Open as many VST sessions of BRASS as there are instruments in your riff gt Save the results of this riff in MIDI file so you ll have it once you ve opened BRASS this is important in Riff mode You will find the same configuration as in the arrangement of your host sequencer choice and number of instruments notes and automations assigned to the right parameters You can also export a riff included in Brass in MIDI file mode to introduce a host sequencer this allows you to re work certain portions easier or to re play certain portions directly Attention Only the controllers listed in the MIDI settings page or in the principal page of Play mode will be taken into consideration by automation in a MIDI sequencer ARTURIA BRASS USER s MANUAL 54 i amm l Bypass Liste des Programmes Attack Pitch Timbre Noise vibrato hs Mute Position Ambience Color Ambience Color Inconnu Inconnu Inconnu Inconnu Plus Supprimer Param tres non utilises The free controllers for automation in VST mode The explications concerning the keyboard configuration are found in part 4 notably the trig options ARTURIA BRASS USER s MANUAL 95 6 Modes of Operation 6 1 Stand alone The Stand Alone application allows the use of BRASS outside of any host applicat
86. s a nearly infinite range of possibilities by setting the position of the Slide at will One playing techniques unique to the trombone is due precisely to the possibilities offered by means of the slide the trombone can play a glissando like no other Imagine for example that the musician wishes to perform an ascending glissando starting with a precise note progressively shorten the length of the instrument and thus increase the resonance frequency by pulling the Slide inward But this is not enough As we have said for the trumpet the sound frequency is influenced by the resonance frequency of the instrument and lips Thus the trombonist must increase the resonance frequency of his lips at the same time that he is moving the slide This technique is very delicate and takes a lot of work to master with the real instrument but luckily the technique is put at the disposition of all BRASS users in a way easily accessible 7 2 Technology used with the Trumpet and Trombone The trumpet and trombone models were developed by the researchers at IRCAM who based all experiments on experience with real instruments Through a few examples we will see how the models used in BRASS benefit from the most recent research in musical acoustics The acoustic signature of the instrument In order to define instrumental behavior measures of acoustic impedance and impulse response in an anechoic chamber were performed This method acts as a precise measure of the
87. s using the arrows located beside each field Instrument Configuration an RERE AE R E Ee TTT TTT TT TTT it mr T f ii iid E I HSsSSc thse ial oa tid E i i iid ii 5 h DA W pen b Ma RS ff j E 1 axophone elt ae i i pPEERS EFF 4 toy ii it j EESE aE E D N i ii j HE 4 _ it i i l i i il ee A Y k Default Number 1 Spacialization Length Tem empo Pressure E v EAG Xi l Tune Instrument MI IN Edit mode of the Riff screen 4 2 4 1 Piano roll visualization The piano roll represents the notes played by each instrument The temporal scale is horizontally represented above the piano roll This bar reveals measure divisions and the time signatures The time division display can be modified by right clicking on the time bar with the mouse Windows or by clicking while pressing on the Ctrl key Mac and by selecting the desired temporal division ARTURIA BRASS USER s MANUAL 45 K Ho quantization 1 2 Mote 1 2 Note T Quantize start times w 1 4 Note 1 4 Note T Quantize durations 1 8 Note 1 8 Note T n Apply quantize 1 16 Note 1716 Note T 1A Not 1732 Note 1 32 Note T _ ve 1 64 Note 1 64 Note T u m Selection of the display grid gt To display only one division per measure select the 1 1 Notes option To view n division per time select
88. seeton OM Add Multiple Unassigned Apple DLSMusicDevice stereo ARP2600 V stereo Arturia Arturia CS 80V stereo BFD all outs mono FXpansion BFD all outs stereo FXpansion BFD group outs mono FXpansion BFD group outs stereo FXpansion BFD master out mono FXpansion BFD master out stereo FXpansion BRASS stereo Arturia mini V stereo Modular V stereo Arturia Modular V 2 stereo Arturia Song _ Sound File a Once you have added this instrument it s possible to assign a MIDI track to it In the connection menu of the MIDI track select the instrument and the MIDI channel that you want to use ARTURIA BRASS USER s MANUAL 64 d Tracks Seque IAC Driver Pr Modular V 2 1 gt microKONTROL Port 1 a microKONTROL Port 2 gt mini V 1 BRASS 1 6 zs MEI 7 New Device Group BRASS 1 8 l BRASS 1 9 Tracks Seque BRASS 1 10 Seg L BRASS 1 11 Selection Stai BRASS 1 12 2 3 4 5 6 7 8 3 ae BRASS 1 13 l 1 1 1 1 1 A 1 1 a k SENESE TTS POSS ee BRASS 1 15 0 ye eo o BRASS 1 16 B sS j 2 Built in Audio 2 T Pm Sound ticks 1 2 Automatic mf Audio 2 Connection from a MIDI track to BRASS 6 4 Pro Tools 6 4 1 Installation On Mac OSX the plug in is directly installed in the folder reserved for the Pro Tools plug ins in Library Application Support Digidesign Plu
89. t and then from the instrument outward to create a musical sound to be heard by the ears of listeners This common frequency allows the ear to distinguish notes played from each other each note corresponding to a particular frequency A little musical physics a little instrumental practice When a trumpeter wants to play a note he presses his lips together increases the air pressure in his mouth and lungs and contracts his diaphragm the muscle allowing inhaling and exhaling If the pressure is strong enough the lips open temporarily and a puff of air escapes into the mouthpiece The acoustic disturbance generated by this small release of air at the opening of the lips spreads out along the instrument and is refracted through the internal sections of the instrument Thus one reflected wave brings back the energy necessary to the lips in order to develop and eventually sustain the oscillation When the resonance frequency from the lips the frequency at which the lips would vibrate if the instrument wasn t there is close to the frequency of instrument resonance the frequency at which the internal pressure oscillates if the lips were not there the exchange of energy is constructive and allows a note to develop As with other brass instruments the production of trumpet sound depends upon the cooperation between the lips of the musician and the instrument The frequency of oscillation thus the sound is at the same time controlled by
90. t you will normally decide the pitch of the note As in the other sources of modulation you can adjust the action curve positively or negatively 5 1 3 Assigning the External MIDI controllers Four possible MIDI slots are free in the list of modulation sources They permit the assignment of one or several modulations to some non described elements from the beginning in the list of dispensable MIDI controllers a potentiometer or a MIDI keyboard fader a MIDI joystick a MIDI pedal To validate a slot click one of the buttons lt lt Detect gt gt the word lt lt select gt gt is written in black then move the external controller so that it is recognized by the BRASS the word lt lt Select gt gt becomes white again ARTURIA BRASS USER s MANUAL 51 Four Midi Slots 5 1 3 1 The four placements meant for the additional MIDI controllers You can play and control BRASS from an external MIDI sequencer Such as Cubase SX or Logic Pro for example This option permits you to program the melodic lines in a live mode and construct an arrangement of brass in real time You can also program control automations in order to make the sequence more realistic An automation is the act of programming and saving the evolution of one parameter in time For example make an automation on the pressure lt lt swell gt gt in the language of wind instruments For this assign the pressure to one MIDI track of your sequencer
91. ten a wider harmonic selection is explored With the smaller sections we can use BRASS with harmonized trumpet saxophone and trombone to create a tight ensemble Consider any of the Blue Note recordings of smaller jazz ensembles for ideas on this approach McCoy Tyner s A Search for Peace and Herbie Hancock s On Green Dolphin Street are prime examples In solo jazz has always given a large place to brass players There are a number of legendary soloists who have changed history with their instruments To reproduce all the finesse and nuance of these musicians seems daunting but nonetheless you can reproduce a quite a number of solo ARTURIA BRASS USER s MANUAL 8 playing modes with BRASS To elaborate your brass performance in a jazz style begin by deciding on the focus of a single instrument A complex portion with several instruments would probably be a bit too long and really difficult to arrange given that you have to take the parameters of expression for each instrument into consideration to obtain a good sound this is after all what happens in reality with the true musicians in brass sections who play each of their instruments with unique expression The sound palette in Jazz is vast Phrasing is often played with a subtle combination of legato and detached notes while alternating styles or punctuating the notes that follow Expression is also carried by the variations in the pressure sent to the instrument so mu
92. thresholds described above vary This means that we could obtain a more intense sound while keeping a similar timbre by simply increasing the pressure and the pinch of the reed at the same time By keeping the pressure constant and modifying the pressure of the lips we move between the timbres described above without modifying the intensity too drastically Damping refers to the quality of reed oscillation and to its ability to vibrate more or less freely In practical terms a musician can play a little bit with these attributes by modifying the stiffness of the lip that pushes on the reed or by moving the lip s position on the reed The effect of these attributes set the range of reed oscillation in relation to the air stream If the damping is too weak the reed oscillation at its own frequency the mouthpiece frequency without the resonator becomes too dominant and we can only hear the false note produced by the reed By progressively increasing the damping we change the sound initially it will be brighter because the reed enriches the principal vibration by its oscillations then it will be more and more velvety and weak The two pressure thresholds approach each other at the same time until the reed will no longer be able to maintain the oscillation of the instrument The Timbre parameter in BRASS is a mix of these two physical attributes allowing a strong margin of sound color variation while maintaining the conditions necessary f
93. tion gt gt tab then apply the mouse to the instrument by clicking on the icon To take away the mouse click on the X icon gt Try to change the position of the trumpet in the stereo space Click on the lt lt Spacialization gt gt button and then click on the trumpet icon to instantly position it in the middle of virtual room Move the instrument by sliding it across the room Amount Colour a a Spacialization gt To finish click on the lt lt MIDI Settings gt gt tab in order to connect the playing parameters to the external MIDI controllers ARTURIA BRASS USER s MANUAL 18 Midi Settings Control type Midi channel Keyboard Only All Midi connexions Attack BORO Velocity Pressure PN a Aftertouch Pitch P SY OLOR Modulation whee Pitch Bend co e Se ee Lx a Timbre Breath controler Noise Vibrato Vib freq Mute 0000 Midi Settings Screen gt Connect for example the velocity to the attack then the modulation wheel to instrument pressure and vibrato Midi connexions Vloity os Attach Aftertouch lt Pressure Modulation whee Sq amp Pitch Pitch Bend No ORLI Breath controler N Noise Vibrato Vib freq Mute Delete Connexion Connect lt lt modulation wheel gt gt to the lt lt pressure gt gt entry It s possible to connect several parameters from one modulation source In ord
94. u to acquire a useful ease in your search for realism and expression 5 1 1 Using a MIDI keyboard A MIDI keyboard literally permits you to play an instrument proposed in BRASS in the same manner an instrumentalist would Example of a MIDI control keyboard In using the possibilities of control offered by the keyboard velocity or after touch for example you re going to be able to get closer to the level of expression of a master instrumentalist on the trumpet saxophone or the trombone ARTURIA BRASS USER s MANUAL 48 The velocity is the force with which the keys of the keyboard are pushed The MIDI keyboards of a certain level can transmit this information to BRASS which will transform itself and send back the sound associated with the pressure The aftertouch is a function that certain MIDI keyboards offer It is the measure of pressure value on the keys over a period of time In effect you can decide to push strongly on the keys then release then push with a different amount of force etc The keyboards that save the variations permit a control very close to BRASS Other controls are proposed for the MIDI keyboards for example by the means of a pitch bend wheel or modulation wheel The pitch bend wheel which all things being normal should come back to the center is by default assigned to the pitch of the note played The modulation wheel that doesn t come back to the center can be used for controlling all ki
95. us Elaborate harmonic portions with two trumpets one saxophone and trombone for example Sometimes two trumpets are enough to create parts at octaves fifths or even thirds Experiment several ways to harmonize It takes a bit of time but in general the results should contain harmonic richness that will get the audience moving Sometimes effects such as a fall swell or up techniques are sufficient to launch the piece into a creative intro Some well placed short hits also enrich the piece in a simple yet efficient way Again there are many good examples for these genres but as a start consider the amazing horn lines from James Brown or Tower of Power and for classic dance tracks there s no better example than Earth Wind and Fire 1 4 Jazz No other style of music explored the different playing palettes as much as jazz For this reason it is a bit difficult to describe a certain way to use any horn in jazz because it is so varied and uses a bit of everything We can describe however several very general configurations Large sections called Big Band sections are found in many configurations Arrangements of this type of formation are fairly complex more so on the level of rhythm than melody There are many examples of this Benny Goodman and Glenn Miller even today the Brian Setzer orchestra makes good use of horns in a big band setting In smaller sections there are fewer instruments of course and of
96. ut ten milliseconds for a long legato of 100 to 200 milliseconds Pitch blend mode The pitch parameter can act in two different ways for the trombone in harmonic mode or in slide mode The harmonic mode is identical to the pitch mode of the trumpet This means that the pitch of the sound follows the harmonics of the instrument without varying the length of the pipe The slide mode varies the length of the pipe and depending on the case the harmonic range played The two keys colored in blue on the bottom of the keyboard indicated by the letter P pitch allows one to select one of the two modes push the D to select the harmonic mode and the E flat of the slide mode Riff mode Presentation The screen in riff mode makes it possible to select listen play the keyboard edit import and export phrases of brass sections ARTURIA BRASS USER s MANUAL 39 Instrument Configuration Qjo Trumpet 1 s aA Funk Midi Settings Funkt 2 FunktS Funk 4 FunktsS Funkitob Solo Trombone Jazz Trumpet Solo hdilitar sy Misc Pop Reggae Midi Chan All Midi input DODD Me Salsa iD i Riff Drag 2 Riff on ke yboart E pgri pin on v ILL BRASS Riff screen MINIY um re r wy ne The screen breaks up into 4 zones Center the selection and editing section of the riffs which allow choosing a riff editing the notes and the real time para
97. vate rt PAN Dit settings na p ne Curves editing grid Editing your Riffs The lt lt Edit gt gt button opens the editing interface for the current riff It consists of two distinct parts the note editor where you can write or modify Riff notes and the sound control interface where you can design the modulations that correspond to individual instruments breathe pressure vibrato pitch etc This is how to work on an existing riff and how to save it gt Choose a riff in the list Funky 2 Funky 3 Funky 4 Funky 5 Fall 2 Funk 6 Funk Funky 1 rm A Choose a list among Presets On the editing grill of notes change the pitch of one or several of the note s gt Click on one of the notes situated on the grill then move it horizontally to change its place in time or vertically to transpose it to high or low Add an effect to the sound gt Click on the button lt lt Edit gt gt to open the tool bar and the editing interface of the expression curves ARTURIA BRASS USER s MANUAL 24 yip Click the lt lt Edit gt gt button gt Choose the lt lt Pressure gt gt parameter among the proposed options by clicking on the arrow situated to the left of the selection field Pressure Activate Attack Pressure Pitch Timbre Moise 1 Vibrato Vib freg Mute Fos Choose the lt lt Pressure gt gt parameter gt Click the lt lt Activate gt gt option to activate t
98. vided as is without warranty of any kind The complete risk as to the quality and performance of the programs is with you Should the program prove defective you assume the entire cost of all necessary servicing repair or correction Remedies Arturia s entire liability and your exclusive remedy shall be at Arturia s option either a return of the purchase price or b replacement of the disk that does not meet the Limited Warranty and which is returned to Arturia with a copy of your receipt This limited Warranty is void if failure of the SOFTWARE has resulted from accident abuse modification or misapplication Any replacement software will be warranted for the remainder of the original warranty period or thirty 30 days whichever is longer No other Warranties The above warranties are in lieu of all other warranties expressed or implied including but not limited to the implied warranties of merchantability and fitness for a particular purpose No oral or written information or advice given by Arturia its dealers distributors agents or employees shall create a warranty or in any way increase the scope of this limited warranty No Liability for Consequential Damages Neither Arturia nor anyone else involved in the creation production or delivery of this product shall be liable for any direct indirect consequential or incidental damages arising out of the use of or inability to use this product including without limitation

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