USER’S MANUAL ARTURIA – BRASS 2 – USER’S MANUAL 1
PROGRAMMING: Arturia Cristian Kreindler (Lead) Robert Bocquier Vincent Travaglini Fabrice Bourgeois Jean-Michel Blanchet Nicolas Bronnec Xavier Oudin Fabrice Paumier Cédric Rossi Ircam Nicholas Ellis (Lead) Joel Bensoam Thomas Helie André Almeida Matthew Burtner René Caussé Xavier Rodet Norbert Schnell Patrice Tisserand Christophe Vergez MANUAL: Cristian Kreindler (Version 2) Richard Phan (Version 2) Antoine Back (Version 2) André Almeida (French version) Jean-Michel Blanchet (French version) Christophe V
Thank you for purchasing ARTURIA BRASS 2! In this package you will find: • a CD-ROM containing the BRASS 2 installer for MAC OSX and Windows 7/Vista/XP/2000 • a paper manual for BRASS 2 • the Authorization Card below Keep this card in a safe place! 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.
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 of musical creation.
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 modeling approaches. Arturia has created BRASS as the first incarnation of this next generation of physically modeled musical instruments. The goal of BRASS is to offer new possibilities, placing the composer in the perspective of the musician.
Table of Contents 1 INTRODUCTION: ARRANGING FOR BRASS 2 ................................................................................... 9 1.1 1.2 1.3 1.4 1.5 1.6 2 POP/ROCK ................................................................................................................................................ 9 REGGAE ................................................................................................................................................. 10 DANCE/FUNK ..................
5.2.3.1 5.2.3.2 5.2.4 5.2.4.1 5.2.4.2 5.2.4.3 5.2.4.4 6 MIDI synchronization................................................................................................................................ 56 Keyboard and control MIDI configuration ................................................................................................ 56 Editing riffs ...................................................................................................................................
.3.2.1 8.3.2.2 8.3.2.3 8.3.2.4 8.3.2.5 8.3.2.6 8 Timbre ....................................................................................................................................................... 85 Damping .................................................................................................................................................... 86 Noise.....................................................................................................................................
1 INTRODUCTION: ARRANGING FOR BRASS 2 Brass instruments are used in a great many music styles – sometimes discretely and sometimes taking center-stage. To know which moment is best 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.
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.
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 often a wider harmonic selection is explored. With the smaller sections, we can use BRASS 2 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.
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, Respighi's “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.
2 INSTALLATION 2.1 WINDOWS installation (2000, XP, Vista, 7) Insert the CD-ROM into the drive. Explore the contents of the CD-ROM, double click on the icon named Brass 2 Setup.exe. At the first step of the installation, choose the destination folder for the BRASS 2 installation. By default, it will be installed in this location: C:\Program Files\Arturia\Brass 2 You can change the destination with the Browse button. Choose the installation folder BRASS 2 will be installed as a standalone application.
Choice of protocols For the VST protocol, you must choose an installation folder in order for the host application to use BRASS 2 as a plug-in. If you do not know how to make this choice, go to Chapter 7.
Choice of VST plug-in installation folder The installation program now has enough information to complete the installation. When the installation process is completed, please proceed to the authorization step (Chapter 3). 2.2 MAC OS X installation Insert the CD-ROM into the drive. Explore the content of the CD-ROM, then double click on the icon named “Brass 2 Setup Mac”. Follow these steps: 1. read and accept the End User License Agreement, 2. select a destination.
Authentication window BRASS 2 will next be installed as a standalone application, but also as VST, AU and RTAS plug-ins. The installation program now has enough information to complete the installation. When the installation process is completed, please proceed to the authorization step (Chapter 3).
3 AUTHORIZATION Now that your BRASS 2 has been installed, you have to authorize the synthesizer. This doesn’t apply to owners of the previous 1.x versions, who may use the software immediately by using their USB-eLicenser hardware dongle. Contrary to 1.x versions that used the USB-eLicenser protection scheme, BRASS 2 uses the “Soft-eLicenser” virtual dongle solution by default.
This will send you to this form: If you already have an account settled, simply log in: Once you are logged into your account, you can register your BRASS 2 and request your activation code.
In the form that appears, select “BRASS 2” in the drop down menu, and key in your synthesizer serial number and unlock code (as written on the registration card): You will then see the confirmation screen: ARTURIA – BRASS 2 – USER’S MANUAL 19
And finally there is a screen from which you can copy the eLicenser activation code. The very same information is sent to you by email as a backup. Now that you have retrieved the activation code, launch the eLicenser Control Center.
Enter the activation code The eLicenser Control Center is now ready to download the software license that will allow you to use BRASS 2. Click on Start, the progress bar should increase until download completion. A popup window will confirm completion, then just click “Close”. Now the main eLicenser Control Center window should show your BRASS 2 license installed and activated.
It’s now time to launch BRASS 2.
4 QUICK START This chapter will introduce you to the general principals of the functions in BRASS 2. You will find a precise and detailed description of each function in later chapters. BRASS 2 is a virtual instrument that offers the possibility of programming and playing different brass instruments quite easily. It offers 3 types of instruments: the trumpet, tenor saxophone, and trombone either in solo or ensemble modes. The BRASS 2 software is divided in two parts: Live and Riff modes. 4.
4.1.1 Management of documents 4.1.1.1 Kit Zone In the “Kit” tab there is a drop down list containing all the kits (sections of one up to four instruments with harmonization options). For now, simply choose a solo kit. 4.1.1.2 Harmonization Zone You can load a second instrument on the second instrument slot, for example a saxophone. In order to play these two instruments together, harmonization options are provided.
Change the pressure parameters The BRASS 2 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. 4.1.1.4 Instrument Configuration Page Change the global playing characteristics of the trumpet by adding and removing a mute to this example.
Spatialization 4.1.1.6 MIDI PRESET page To finish, click on the MIDI PRESET tab in order to connect the playing parameters to the external MIDI controllers.
MIDI PRESET page By default the page focuses on the selected slot’s midi configuration; in this case the second saxophone You can add connections between MIDI parameters by clicking on the “+” button. control sources and instrument For a connection you can choose: • The MIDI modulation source (velocity, pitch bend, MIDI CCs...
It’s possible to connect several parameters from one modulation source. In order to do this, add connections and choose the modulation parameter as source in all of them and the parameters you want to control as destinations. In order to delete the connection, select the connection then press the button “-” (“Remove Connection”). You can also change the border (extreme values) between which the control parameter of MIDI will maneuver.
A hand-drawn automation curve Listening to the results, we notice that the sound evolves in time, as desired. 4.1.3 To Save When you have made some settings that you are happy with, you might want to save these changes as a preset to be recalled later.
“Save As” window In this Window, aside from saving the entire kit, you can also choose to save separate copies of any of the four instrument presets used in the kit and/or a separate copy of the harmonization settings. Choose a new kit name by double clicking on the name If you only want to save an instrument or the harmonization, choose the respective option from the popup menu and enter the name you want your preset to have.
Riff Interface The “Riff” mode provides a simple interface that allows 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 of arrangements in different musical styles. 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 “Play” or the [Space] key.
Place a riff on a MIDI note 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 To delete a riff placed on a key, right-click on the corresponding key and choose the “Remove” option. 4.2.
Editing your Riffs The “Edit” 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, • the sound control interface, where you can design the modulations that correspond to individual instruments (breathe, pressure, vibrato, pitch, etc...).
to change its place in time, or vertically to transpose it higher or lower. Add an effect to the sound: Click on the EDIT button to open the tool box and the editing interface of the expression curves. Click the “Edit” button Choose the “Pressure” parameter among the proposed options by clicking on the arrow situated to the left of the selection field. Choose the “Pressure” parameter Click the “Activate” option to activate the action of the parameter.
Click the “curve” tool Design a climbing line starting at the beginning of the editing space to bring up the pressure progressively. Save your Riff preset by clicking on the “Save As” 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 2 can be exported in the same format. 4.
Breath controller assigned to pressure and noise As you may have noticed, the control of BRASS 2 in Live mode is very simple, but using MIDI control in the Riff mode is very easy as well. You can set the parameters that will trigger your riffs by simply playing a MIDI note (either on a MIDI keyboard or a host sequencer): Go back into Riff mode, then choose the MIDI channel by clicking in the field “MIDI Channel” from the MIDI SETUP page.
5 USER INTERFACES This section describes the functions of each of the two principal playing modes: • Live mode permits playing and editing of an instrument in real time. • Riff mode permits playing and editing of riffs in real time These two modes correspond to the Live and Riff screens of the software. 5.1 Live Mode Live mode of BRASS 2 allows real time control of the trumpet, saxophone and trombone, to configure instruments and use presets.
The instrument preset area also indicates the instrument color codes used in the interface. • The right zone displays configuration elements of the current preset, along with the instrument settings including spatialization and MIDI control. • At the bottom, a virtual keyboard with the modulation and pitch wheel control which allows to play or test the sound of the instrument with the mouse. The keyboard is scrollable. 5.1.
MUTE The mute is accessible uniquely for the trumpet and the trombone. In the case where a muted wahwah effect is chosen*, 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. * muted wahwah or muted plunger, see “5.1.3 Right Section – Instrument Configuration”, Mutes. GRWL (Growl) 5.1.1.
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 amplitude will be at its maximum when the control is MIDI assigned (see “5.1.3 Right Section - Instrument configuration”, MIDI PRESET). Nevertheless, the automation applied to a parameter (see following part, “Automation of the Live parameters”) can push this parameter to “overflow” the range limits defined by the arrows. 5.1.
Automation of a parameter value In the automation window, you will find the following buttons and settings: Parameter On Switch the parameter whose automation you want to edit. 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 to the tempo of the sequencer.
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 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: • 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.
desired sinusoid end height. The distance of the mouse cursor from the horizontal axis when you release determines the sinusoid amplitude. Square Allows you to draw square wave. Works in the same manner as the sinusoid form. 5.1.2 Left Section – Instrument Presets 5.1.2.1 Choose your kit In this list you will find all the kit presets available. Loading one of these presets implies loading up to four instrument presets and the harmonization options to be used to play these instruments. Load a kit 5.1.
The Harmonization page The Harmonization page is accessed by clicking on the “EDIT” button found at the right of the Harmonization Zone.
o The harmonization mode’s specific parameters: except for the “Melody” mode, each mode has a parameter: For the Chroma Transpose the parameter chooses the number of semitones to transpose For the Scale Transpose mode the interval (calculated in the scale detected from the Chord Port) to transpose is to be chosen; For the Multi mode the order (counting from the top) of the note is set.
Select a preset 5.1.2.5 Preset management In the lower left part of the screen is the file management section: New Inserts a new preset called “Untitled” in the current bank of presets. Save Saves the selected preset Save As Delete Saves the selected preset under another name Deletes the selected preset (note that you cannot delete factory presets). WARNING: This operation has no confirmation screen and can’t be cancelled. Import Imports the selected preset from a pre-selected file.
Configuration Screen Type This allows changing the instrument sound according to its style. You will be able, depending on your needs, to obtain a more subdued, brighter, or clearer sound, etc. Many different selections are available for each instrument, each reproducing different characteristics specific to these instruments. Number This allows multiplying up to four times the number of identical instruments playing at the same time.
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 2 offers 4 different types of attacks in order to adapt to all the playing modes.
For the trumpet and the trombone, it makes it possible to choose among several types of mutes: Dry mutes Choked and clear sound, used in classical or jazz playing. Bowl mutes Sound more open, adapted to jazzy New Orleans playing. Harmon Also called the “Miles mute”, because frequently used by Miles Davis. This mute rules for jazz, acid jazz, etc. 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.
Virtual instrument placement in the virtual room Amount Color Sets the effect intensity. This means the amount of reverberation added to the sound. Regulates the sound tonality of the room: duller or brighter Dry/Wet Allows to set the proportioning of the effect, from spatial sounds to a dense, ambient sound. Volumes Sets the instruments’ volumes separately. 5.1.3.4 MIDI PRESET page This window allows setting of MIDI controls for the selected instrument.
MIDI PRESET page The main controller options to choose from are: Keyboard Standard MIDI keyboard Keyboard + BC MIDI keyboard with a Breath Control module : in this mode notes do not sound even if keys are pressed on the keyboard until BC values are received. EWI Same functioning as keyboard with BC module, but with specific settings. For each controller mode, a different set of presets is provided, in order to cover different playing possibilities and styles.
Bend, After Touch, CCs...) and the instrument parameters you want to control with these controllers(for example the pitch bend wheel controls the pitch parameter of the instrument). Each connection between a MIDI controller and a real time parameter can be configured according to a response curve. Click on the connection you want to configure, and it will highlight.
Riff mode The screen breaks up into 4 zones: • At the center, the selection and editing section of the riffs which allow choosing a riff, editing the notes and the real time parameters for each instrument. • On the left side, the configuration of the selected riff with the choice of instruments, length and riff tonality and the buttons used for riff managements (saving, etc...
New Creates an empty riff at the place of the current Instrument/style selection. Save Saves the selected preset Save As Del Saves the preset under a new name Deletes the current selection. This operation can not be cancelled! Import Imports a riff in MIDI format (see below) Export Exports a riff in MIDI format (see below) 5.2.1.2 Import and Export Riffs It is possible to import and to export riffs in MIDI format thanks to “Import” and “Export” buttons.
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. • The Mute button allows to mute the instrument. Choice of instruments and presets, and the Mute button 5.2.2.2 Riff properties Programming Time parameters Length Riff length in number of beats.
Configuration of the instrument”), except that one can lay out the four instruments in the space. 5.2.3 Control of the riff mode via MIDI The MIDI SETUP panel makes it possible to configure the use of a MIDI keyboard and the synchronization mode in riff mode. MIDI screen settings in riff mode 5.2.3.1 MIDI synchronization The tempo of the riffs can be configured by clicking one of the “Tempo Sync” options: Riff tempo Host tempo 5.2.3.2 Riffs are played in their original tempo.
Adjustment of separation between the riffs and chords with the mouse The “Trigg On” option allows starting the riff while pressing a key in the riff zone or in the chord zone. This option allows, for instance, not starting a riff before having fixed the chords, and transposing the riff in progress without restarting it (“Trigg on Riff”). On the contrary, it is possible to start a single riff in several following tonalities quite simply (“Trig on Chord”).
Edit This button, located in the middle of the Riffs screen, brings up a panel showing the edition tools and real time parameters for each instrument. Master Vol 5.2.4.1 Sets the general sound volume. 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.
Horizontal and vertical zoom bars 5.2.4.3 Editing Notes Three tools are available for editing notes: Pencil Enables you to draw notes onto the pianoroll for the selected instrument, as well as to change the notes length. 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. Select Allows to select one or more notes and to move them on the pianoroll.
To quantize the beginning of the notes, click the option “Quantize start time”. To quantize the note length, click the option “Quantize duration”. The quantization will be applied when you select the option “Apply quantize” of the menu. To reset note placement, select the option “No quantization”. 5.2.4.
6 USING BRASS IN MIDI 6.1 LIVE Mode In the Live mode, using a MIDI controller is indispensable if you wish to truly play your instrument or kit. 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 2 is the fact that they offer a control instrument close to that which we find on the original instrument.
• The aftertouch is a function that certain MIDI keyboards offer. It is the measure pressure value on the keys over a period of time. In effect, you can decide push strongly on the keys, then release, and then push with a different amount force, etc. The keyboards that save the variations permit a control very close BRASS 2. of to of to Other controls are proposed for the MIDI keyboards, for example by the means of a pitch-bend wheel or modulation wheel.
EWI the famous dedicated controller from Akai Once the controller is selected, you can load a control preset for each type of instrument. The control preset is a set of “connections” from a MIDI control source(velocity, BC, aftertouch, CCs, etc.) to one of the instruments’ parameters(attack, pressure, pitch, etc.). These “connections” define the way in which you control a trumpet, a sax or a trombone preset using your MIDI controller.
Each connection can have a variable influence depending on its Connection Amount value. Do not forget that, as seen in chapter 5.1.1, it is possible to adjust the inferior and superior limits of 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, timbre, etc.).
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 that you will normally decide the pitch of the note. You might also want to link breath values to the noise parameter for even more realistic effect! As in the other sources of modulation, you can adjust the action curve positively or negatively. 6.1.
(from C1 to C3) and choose their transposition mode by clicking on the right portion of the keyboard (beginning at D3). Distribute the riff on the left portion of the keyboard 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 6.2.
Synchronization modes 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 2 in Live mode. 6.2.2.2 Importing/Exporting riffs You can also compose riffs in MIDI directly by opening several sessions of BRASS 2 in your sequencer, as long as the number of VST plug-ins matches the number of instruments in your riff.
The free controllers for automation in VST mode 68 ARTURIA – BRASS 2 – USER’S MANUAL
7 MODES OF OPERATION 7.1 Stand-alone The standalone application allows the use of BRASS 2 outside of any host application. 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. 7.1.1 Launching the Stand-alone application To launch the standalone application on Windows, go into the menu Start > Programs > Arturia > BRASS 2 and choose BRASS 2.
Preferences window audio device Select the driver corresponding to the sound menu that you wish to use. sample rate 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. audio buffer size Here, you can configure the optimal audio latency as it relates to performance of your sound card.
7.2 VST 7.2.1 Installation 7.2.1.1 Under Windows During installation, select the box “VST” 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 select another folder that shall be scanned. 7.2.1.
Connection of a MIDI track to BRASS 2 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 2. 7.2.2.2 Saving of presets When the session/project is saved, BRASS 2 is saved in its last mode of operation, with all modifications intact.
7.3.2 Use in Logic Audio Select an instrument track. On the part of the mixer corresponding to the selected track, click on the button “I/O” to obtain the list of plug-ins, then select Stereo > AU Instruments > Arturia BRASS 2. Opening BRASS 2 in Logic Since version 7, there has been an Audio Unit plug-in manager in Logic. To launch it, click on the menu Preferences > Audio Units Manager.
Launching 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.
The Audio Unit Manager 7.3.3 Use in Digital Performer To add an instrument, choose the menu Project > Add Track > Instrument Track > BRASS 2.
Opening BRASS 2 in the Digital Performer 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.
Connection from a MIDI track to BRASS 2 7.4 Pro Tools 7.4.1 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/Plug-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, the path is : C:\Program Files\Common Files\Digidesign\
Access to the BRASS 2 plug-in is like all other plug-ins, via an audio track insert: Opening BRASS 2 in Pro Tools BRASS 2 must be loaded on an audio stereo track. We can now make BRASS 2 sound by playing with the mouse on the virtual keyboard. 7.4.2.2 Connection to a MIDI channel So that BRASS 2 can play the information coming from a MIDI track, you have to connect it to a MIDI channel via the appropriate menu.
8 RESEARCH 8.1 Trumpet and Trombone 8.1.1 Trumpet 8.1.1.1 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.
simultaneously: 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 play all the notes of the chromatic scale. It is the same when you play a note in BRASS 2; it is good that one or the other of these options is put into place by the model. 8.1.1.
8.2.1.2 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.
the previously mentioned researchers. In fact, the sound produced by BRASS 2 is the solution of equations calculated more than 44,000 times a second! Indeed, with a physical model the sound is always in 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.
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.
Different positions of the Resonator 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. 8.3.1.3 Role of the Reed We have seen that the reed also plays its role on the pitch when an instrument produces a note.
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. Playing parameters Pinch on the Mouthpiece 8.3.
drastically. 8.3.2.2 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 sets the range of reed oscillation in relation to the air stream.
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.
ARTURIA BRASS 2 - LICENSE AGREEMENT In consideration of payment of the Licensee fee, which is a portion of the price you paid, Arturia, as Licensor, grants to you (hereinafter termed “Licensee”) a nonexclusive right to use this copy of the BRASS 2 program (hereinafter the “SOFTWARE”). All intellectual property rights in the software belong to Arturia SA (hereinafter: “Arturia”).
3. Activation of the Software • Arturia may use a compulsory activation of the software and a compulsory registration of the OEM software for license control to protect the software against unlawful copying. If you do not accept the terms and conditions of this Agreement, the software will not work. • In such a case the product including the software may only be returned within 30 days following acquisition of the product. Upon return a claim according to § 11 shall not apply. 4.
used any more. • You can also use another computer other than the one on which the software is to be installed for the activation and transfer of license data to the eLicenser dongle, if the software is using an eLicenser dongle. However, in such a case a corresponding access software (eLicenser Control Center, “eLC”) must be installed on the computer connected to the Internet, which is subject to a separate licensing agreement. 6.
• The right of support for the previous or inferior version of the software expires upon the installation of an upgrade or update. 10. 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.
