User Manual

Before you start

Although these instruments are intuitive and easy to play “out-of-the-box”, getting          

excellent results requires a certain amount of practice and experience. Please read this user             

manual carefully. It contains very important information that will help you achieve the best             

results in a much shorter time.

Also listen to the demos on the Audio Modeling website audiomodeling.com/media

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The latest version of all SWAM manuals can be found at audiomodeling.com/manuals

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All SWAM instruments are designed to be PLAYED in real time by shaping the sound like a                

real instrumentalist would.

They will function on any modern computer (see Specifications), by using a suitable host             

such as a sequencer (Cubase, Logic, Pro Tools, etc.), DAW (digital audio workstation), a host              

application supporting the plugin format VST, VST3, Audio Units or AAX, or running as             

Standalone.

These instruments use Audio Modeling's proprietary SWAM (Synchronous Wave Acoustic         

Modeling) technology conceived by Stefano Lucato, combined with Physical Modeling, and          

provide an exceptional playability and realism. These are not samples, using pre-recorded           

articulations, but complex virtual instruments, capable of shaping almost any kind of           

articulation and phrasing in real time. They can be played using any MIDI device such as a                

keyboard, breath or wind controller.

(It is, however, essential that the instruments are suitably controlled using an appropriate            

MIDI device, as described

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Note: As with a real musical instrument, all of our SWAM instruments allow continuous             

transition across the full range of dynamics — from pp to ff — free from any phasing                

artifacts.

To accomplish this, it is absolutely necessary to use a suitable continuous physical MIDI             

controller such as an expression or volume pedal (usually CC11 or CC7 MIDI messages), a              

breath or wind controller (usually CC2 MIDI messages) or any other expressive MIDI            

controller.

WITHOUT SUCH A CONTROLLER, THE INSTRUMENT WILL NOT WORK, if played in           

realtime. Instead, it will display the warning “Expression controller not received. Please           

move your expression controller.”

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SWAM Solo Brass - v1.0.1

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3

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