User Manual

Using an appropriate range of Expression

This is an extremely important aspect for getting the optimal expressiveness and realism            

with virtual instruments.

All real instruments require a much greater degree of effort to achieve the highest possible              

dynamics for that instrument. This is not the case for most physical MIDI controllers; it is               

indeed very easy to push an expression pedal, or a slider, to the maximum and leave it                

there forever. Oddly enough, even breath and wind controllers tend to jump very easily to              

the highest dynamics (unless carefully set), so that the most expressive range (mp to mf) is               

seldom exploited. This results all too often in the virtual instrument being played in an              

excessive range of dynamics, leading unavoidably to a poor, unrealistic performance.

Please keep in mind that the key to expressiveness and realism is a proper use of dynamics.                

Always monitor the input expression value on the main display and adjust the dynamics             

accordingly. A useful trick is to set the overall monitoring volume fairly high. This             

automatically prevents any inclination toward over using dynamics.

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It is also important to optimize the general volume of your loudspeakers/headphones at an             

average value of Expression. Too low an output level would easily induce the user to use               

high Expression levels, usually yielding excessively “biting” sounds.

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SWAM Solo Brass - v1.0.1

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