# Aaron Venture Infinite Brass - Update v1.2 is live!



## aaronventure (Nov 22, 2018)

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## SoNowWhat? (Nov 22, 2018)

Very interesting. I’m awaiting the technical walkthrough with interest and anticipation.


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## HelixK (Nov 22, 2018)

What a week! I might just give my credit card info to the forum admin and let him/her decide for me.

And that's how you are supposed to make an announcement: plenty of demos, walkthrough ready and a price. Honestly tired of the mysterious hype game...

Congratulations Aaron and @AlexanderSchiborr


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## NoamL (Nov 22, 2018)

Congratulations on the release Aaron. How exactly does this work? Is this sort of like Sample Modeling? I'm a little confused how you can have 3 mic positions for each of 60 seating options??


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## HelixK (Nov 22, 2018)

NoamL said:


> Congratulations on the release Aaron. How exactly does this work? Is this sort of like Sample Modeling? I'm a little confused how you can have 3 mic positions for each of 60 seating options??



Great question, I've read the release notes a few times and failed to grasp how this is going to work. Built-in spatialization and positioning?


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## prodigalson (Nov 22, 2018)

so is THIS the library @AlexanderSchiborr was teasing us all about??


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## axb312 (Nov 22, 2018)

That was sudden and unexpected!

Well done though.

Personally dislike the font on the website and would like to know where this was recorded and how much disk space it takes up (disk space is becoming a precious commodity nowadays).

Nice that you're being upfront about the price as well and you included the MIDI files!


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## aaronventure (Nov 22, 2018)

NoamL said:


> Congratulations on the release Aaron. How exactly does this work? Is this sort of like Sample Modeling? I'm a little confused how you can have 3 mic positions for each of 60 seating options??



Thanks Noam!

I'm don't know how Sample Modeling does what they do, but the source samples in Infinite Brass don't really sound pretty. They're perfectly phase-aligned so you will always perceive it as a single voice, even though it's always flying between two layers (pp and mp, mp and mf, or mf and ff) which is why it's so sensitive and expressive. 

Infinite Brass was recorded dry, in-the-bell, in a small studio. The positions and space are done through convolution. There are over 2600 recorded and edited impulse responses that I created specifically for Infinite Brass. 



axb312 said:


> how much disk space it takes up


The size on disk is 6.95 GB. I'll update the post as well, thanks.


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## axb312 (Nov 22, 2018)

aaronventure said:


> Thanks Noam!
> 
> I'm don't know how Sample Modeling does what they do, but the source samples in Infinite Brass don't really sound pretty. They're perfectly phase-aligned so you will always perceive it as a single voice, even though it's always flying between two layers (pp and mp, mp and mf, or mf and ff) which is why it's so sensitive and expressive.
> 
> ...



Thank you. Other questions :
- how many recorded dynamic layers and round robins ?
- list of articulations ?
- Were legato transitions recorded or....?
- were mutes recorded or are they simulated?


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## leon chevalier (Nov 22, 2018)

Whoa !!!


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## aaronventure (Nov 22, 2018)

axb312 said:


> Thank you. Be nice if you could put in how many recorded dynamic layers and round robins it has as well...


Recorded dynamic layers are 4, but that's not important because they are phase aligned and you are always somewhere between two layers. Never, ever will you only listen to a single dynamic layer for longer than a few moments, and that's only if your CC1 is 127 or 0. Standard sampled libraries that try and tackle solo instruments have really small crossfades in order to avoid phasing. You are mostly just controlling volume, and then have rough jumps between layers. 

In Infinite Brass, you cannot perceive more than 1 voice per instrument, since the layers are perfectly phase-aligned, and the only thing the crossfade is doing is fading in/out the differences between the layers—overtones. And since the crossfades are as long as the layers themselves, it all actually feels like a crescendo/decrescendo of a real instrument. 



axb312 said:


> round robins it has


For the most part, the instruments aren't linear. Pitch fluctuations are handled (amplified on top of the recorded ones/whatever is left after auto-tuning) by the script, and they're randomized. Breath fluctuation is randomized. There are multiple parameters regarding note starts being randomized every time you play a note. Usually it's 127 different possible outcomes for most parameters, but in some cases (like the pitch envelopes during the attack) it's 127x127. Legato has 127 different durations, depending on how hard you hit the note. 

You play trills by just trilling on the keyboard—hold the starting note and repeat the landing note (see Steel Ballroom screencast), and it's almost impossible for you to play a trill line the exact same way twice. No chance that you hit the same CC1 curve, note timings, note durations and note velocities twice. So as long as you don't copy and paste the trill to all the other instruments, these will be the most natural-sounding trills you've written. Or rips, falls, diverging clusters, bends... You just play it all in.

The clams aren't scripted in; the random detunes, slippery fingers, etc. I'm against shoving that kind of stuff into a user's face, so you can do the clams yourself. Clam while you're playing, or include a short "wrong" note before or after a note. Use pitch bend to dial in detunes.

None of it will sound wrong, because the convolution comes after all of that. You can play 10 notes with same velocities, but even then they'll have different pitch envelopes, embouchure resonance envelopes and note durations, which will ultimately, coupled with convolution, sound like a series of 10 different notes. 

Add in CC1 and different velocities and the possibilities are... infinite. 

Or somewhere in the ballpark.


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## AlexanderSchiborr (Nov 23, 2018)

prodigalson said:


> so is THIS the library @AlexanderSchiborr was teasing us all about??



Yes, I was referring to Infinite Brass here.


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## Nils Neumann (Nov 23, 2018)

The sound is incredible:o


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## Nicola74 (Nov 23, 2018)

Wow!! Looking forward for walkthrough...
Interesting choice: 4 trumpets and 5 trumpets with mute, 4 french horns and 2 french horns with mute...
Anyway It sounds great!!

Edit: made a mistake, I think you mean 5 kind of mutes for trumpets and so on...wow!


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## zolhof (Nov 23, 2018)

2018 shall be known as the year of the brass!

Congratulations, Aaron and Alexander, looking forward to the walkthrough. Great sound and such a small footprint.

Also, nice selection of demos, I can feel the love in these tracks.


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## AlexanderSchiborr (Nov 23, 2018)

Ok, here are the screencasts from all the Infinite brass demos:

https://www.youtube.com/playlist?list=PLO4fqImxJKk-62gP5ETH_H7btkvUUxvRs


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## DANIELE (Nov 23, 2018)

Very very very very very very......very interesting!!


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## HelixK (Nov 23, 2018)

Aaron, could you share which microphones were used and what was the recording process like? Signal chain and such.


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## AlexanderSchiborr (Nov 23, 2018)

Richard Wilkinson said:


> Looks great! Since this will likely replace Caspian etc in some templates, will there be any sort of crossgrade for owners?



Crossgrade? I am not sure what you mean here, but to clarify this brass is not from performance samples.


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## Richard Wilkinson (Nov 23, 2018)

AlexanderSchiborr said:


> Crossgrade? I am not sure what you mean here, but to clarify this brass is not from performance samples.


post deleted - it's been a long week..


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## AlexanderSchiborr (Nov 23, 2018)

Richard Wilkinson said:


> post deleted - it's been a long week..


no problem  I can totally relate looking back to the last 4 weeks of mine


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## MichaelB (Nov 23, 2018)

What a beast! Feels like I’ll be able to blow the ceiling away with this giant. Congratulations, the sound is good and I see a lot of good potential in this power kingdom of brass. You lift the bar once again and give us the power to do a special Aida like never heard before. 

I just have one concern, is this library aimed at a special market? Concerning the size, will this be suitable for usual orchestral music and do we have the option to reduce the section sizes or is this the power monster to blast movie audiences out of their seats? I would just like to have your honest opinion because when I listen to the Swan Lake demo it gives me the impression that perhaps this brass section is a bit too powerful to fit in with a normal size orchestra and can easily be too overpowering. Not that there’s anything wrong with that, if it’s intended to be the mother of all brass libraries then it is in fact the mother of all brass libraries and it kicks dust in any competitor’s eyes. And when you mention filling up positions for 30 horns, 20 trumpets etc I have to say I’m impressed with the sound and I can just imagine what a spectacular Aida you can do with this library.


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## AlexanderSchiborr (Nov 23, 2018)

MichaelB said:


> What a beast! Feels like I’ll be able to blow the ceiling away with this giant. Congratulations, the sound is good and I see a lot of good potential in this power kingdom of brass. You lift the bar once again and give us the power to do a special Aida like never heard before.
> 
> I just have one concern, is this library aimed at a special market? Concerning the size, will this be suitable for usual orchestral music and do we have the option to reduce the section sizes or is this the power monster to blast movie audiences out of their seats? I would just like to have your honest opinion because when I listen to the Swan Lake demo it gives me the impression that perhaps this brass section is a bit too powerful to fit in with a normal size orchestra and can easily be too overpowering. Not that there’s anything wrong with that, if it’s intended to be the mother of all brass libraries then it is in fact the mother of all brass libraries and it kicks dust in any competitor’s eyes. And when you mention filling up positions for 30 horns, 20 trumpets etc I have to say I’m impressed with the sound and I can just imagine what a spectacular Aida you can do with this library.



No, not at all. You can build your custom ensemble sections. So in that Swanlake demo I used a bigger ensemble, but you care not tied to that. You can also create all kinds of custom ensemble combinations. There is no limit regarding that, so you can go from any single instrument to a phalanx.

All combinations are possible from:

1 trumpet
2 Horns
1 Tenor Bone
1 Bass bone
1 Tuba
1 CB Tuba

or

2 trumpets
4 Horns
2 Tenor bones
1 Bass Bone
1 CB Bone
1 Tuba
1 CB Tuba

3 Trumpets
4 Horns
3 Tenor Bones
2 Bass Bones
2 CB Bones
1 Tuba
1 CB Tuba

or for big orchestra:

4 Trumpets
6 Horns
3 Tenor Bones
3 Bass Bones
3 CB Bones
1 Tuba
1 CB Tuba

How you mix and how many instrument and where you position them is totally up to your own taste and needs. You can create countless specific combinations, also like:

3 trumpets
2 Horns
1 Bassbone
2 CB Bones
1 CB Tuba

I hope that this does answer your question a bit?


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## bryla (Nov 23, 2018)

Congratulations, Aaron!
I'm not sure what you mean by filling up the positions. I hope you can make a video demonstration of that.
Is it correct that horns are the only instrument not available as solo?


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## Hanu_H (Nov 23, 2018)

Like the concept a lot, not sure yet if I like the sound though. Sometimes it sounds a bit muffled in the demos, especially the horns. Waiting for the walkthrough to see the instruments in action. Maybe some naked demos would be good too? This is a next generation library and would be great if people could try it for themselfs to really see what it can do.

-Hannes


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## MichaelB (Nov 23, 2018)

Hi Alexander 

Thank you for your prompt response and clear answer to my question. Now you have me even more excited about this library. You really raise the bar on this one!


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## aaronventure (Nov 23, 2018)

bryla said:


> I'm not sure what you mean by filling up the positions.



There are 23 positions for Horns. 6 Left, 6 Center, 6 Right, 2 Offstage Left, 2 Offstage Right, Soloist.

If you use the transpose options, you can safely load in multiple patches of horns 1-6 and place them in unused positions. With the instruments being mostly non-linear, the actual transposing helps alleviate the small phasing issues that might come when copy-pasting MIDI (because who's gonna play in all 30 horns one by one? I know I would get lazy ), so better safe than sorry.

But once you fill them up, you can do whatever you want. Aleatorics? Call-and-response trill bursts from all over the place? It's all as easy as just playing it in. Imagine having up to 30 (or 23 per room, rather) players in front of you, spaced out however you want and being able to tell each one what to do.



bryla said:


> Is it correct that horns are the only instrument not available as solo?


I'm not sure what made you think that. If you could point it out, I can make the post more clear.

Infinite Brass is a collection of solo instruments - there are no ensemble patches. You create your own ensembles by loading in whatever the amount of instruments you wish, positioning the across the room as you with with a click of a mouse, then just playing the lines in. While playing in an entire unison surely sounds fine most of the time, you get the best results when you either play in each line on its own or edit the MIDI if you're punching in a unison/copy pasting to at least change the velocities, note timings and re-record/edit CC1.


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## bryla (Nov 23, 2018)

Thanks Aaron. Alexander's post made me question it and re-reading your original post just didn't make it clear for me


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## FinGael (Nov 23, 2018)

Yikes! I think that November should be renamed to Brassember from now on... 

The concept of your library is very interesting. Congratulations. Looking forward to a walkthrough.


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## MartinH. (Nov 23, 2018)

Interesting concept and sounds great! I think people will want to hear "naked" versions of demos.

@aaronventure Will you ask Mike to do a demo too? :D
The concept seems like something he'd enjoy using.


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## HelixK (Nov 23, 2018)

MartinH. said:


> Will you ask Mike to do a demo too? :D
> The concept seems like something he'd enjoy using.



I second that.


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## trumpoz (Nov 23, 2018)

There are some beautiful aspects to the library. Some of the crescendos sound really good - particularly in 'Starchild'. The ensemble sound in the Holst when the brass are going balls-to-the-wall is very full - it timbre opens up and sizzles nicely there. 

In the Tchaik and Holst demos - the brass sometimes sounds like it is being played through a felt hat. They do not have the resonance that I would expect from an orchestral library. I'm not a fan of the mutes in the Holst. 

All the best - I'm on the fence with this one. I'd love to see some solo demos


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## NoamL (Nov 23, 2018)

Check your PMs


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## Loïc D (Nov 24, 2018)

Also very interested...


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## DANIELE (Nov 24, 2018)

When it is planned to came out?


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## HBen (Nov 24, 2018)

Is this a Kontakt player or Kontakt Full library?


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## robgb (Nov 25, 2018)

I'm looking forward to my review copy...


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## I like music (Nov 25, 2018)

Woah. How did I miss this?

Is this going to be one of those that is lighter on RAM, heavier on processor?


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## AlexanderSchiborr (Nov 25, 2018)

HBen said:


> Is this a Kontakt player or Kontakt Full library?



It is for the Kontakt Player Full Version, compatible with 5.7.3.



I like music said:


> Woah. How did I miss this?
> 
> Is this going to be one of those that is lighter on RAM, heavier on processor?



It is very light on ram, you can load the whole brass and it uses..only 1.5 Gig or something. It is also so far from my experience using it no CPU Hog at all. I never had any problems or spikes in Kontakt so far. Very friendly in both aspects.


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## I like music (Nov 25, 2018)

AlexanderSchiborr said:


> It is for the Kontakt Player Full Version, compatible with 5.7.3.
> 
> 
> 
> It is very light on ram, you can load the whole brass and it uses..only 1.5 Gig or something. It is also so far from my experience using it no CPU Hog at all. I never had any problems or spikes in Kontakt so far.



My pain with samples (esp with brass) is always with not being able to go between short staccato passages to lyrical phrases. I'm so hoping this will solve it. Had my heart set on CSB but now this is right in the running.


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## AlexanderSchiborr (Nov 25, 2018)

I like music said:


> My pain with samples (esp with brass) is always with not being able to go between short staccato passages to lyrical phrases. I'm so hoping this will solve it. Had my heart set on CSB but now this is right in the running.



The point is that with conventional sample libraries is that you are stuck to the samples note length and build in performances more or less. Sure sometimes they offer like time machine patches where you can alter note lengths. Infinite Brass falls much more into the sample modeling concept where you create the performance. That means also that have much more fluidity between shorter notes and longer notes and because of the phase aligned aspect no bumps in dynamics. However I am pretty sure @aaronventure will shed some light on all that in his walkthrough video.


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## aaronventure (Nov 25, 2018)

DANIELE said:


> When it is planned to came out?


Very, very soon :D



I like music said:


> Is this going to be one of those that is lighter on RAM, heavier on processor?


It averages at ~60 MB per instrument at the default buffer size. If you want to reduce it further, you can, for example, only use Trumpet 1 and then use the transpose options. If you plan to only use 3 trumpets, the transposed ones will be barely noticeable, because Infinite Brass was recorded chromatically, so you would only use Transpose -1 and Transpose +1 options (99% of the libraries today are recorded diatonically, meaning that half of the library is transposed by 1 semitone and no one seems to notice it), and then change the positions (to avoid phasing), which will let you have 3 Trumpets at the price of one. That way, you can load an entire brass section in about 300MB of RAM, but missing out on some minor differences in attack behavior, pitch fluctuation etc., since you're using the same instruments, only transposed. 

It's not very CPU heavy. Any one instrument certainly isn't heavier than some Performance patches some libraries offer. The only time there are more than 5 voices per instrument playing are the few miliseconds during a legato transition. The "Mixed Mic" will let you switch to only one Convolution unit instead of 3, where you can choose from 5 pre-mixed distances. You can then disable "Mixed Mic" with a CC controller before rendering. 

You absolutely can run this thing on a laptop, or a 2014 i5.


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## aaronventure (Nov 25, 2018)

I like music said:


> I'm so hoping this will solve it



Or trills, or bends, or vibrato, flutter, or playing your own runs, rips, falls...


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## I like music (Nov 25, 2018)

AlexanderSchiborr said:


> The point is that with conventional sample libraries is that you are stuck to the samples note length and build in performances more or less. Sure sometimes they offer like time machine patches where you can alter note lengths. Infinite Brass falls much more into the sample modeling concept where you create the performance. That means also that have much more fluidity between shorter notes and longer notes and because of the phase aligned aspect no bumps in dynamics. However I am pretty sure @aaronventure will shed some light on all that in his walkthrough video.



I hope it goes really well for you guys. Keen to see some solo examples too, as I imagine they'll sound fantastic. I'm imagining then that it is a pretty damn dry library? Sorry for all the questions. Just very excited to see more.


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## aaronventure (Nov 25, 2018)

I like music said:


> I hope it goes really well for you guys. Keen to see some solo examples too, as I imagine they'll sound fantastic. I'm imagining then that it is a pretty damn dry library? Sorry for all the questions. Just very excited to see more.



In the source, yes. But you have 4 rooms available, as well as 3 mic positions to dial in the ambience however you see fit. Use the bigger halls, or use smaller rooms and add your own algorithmic reverb... whatever you want.

The brass in the demos is out-of-the-box, and only Starchild has a very small amount of algorithmic hall reverb.


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## I like music (Nov 25, 2018)

aaronventure said:


> Very, very soon :D



Where I live, when people say "very, very soon" it means 24-48 hours. What does it mean (in hours) where you live? :D


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## AlexanderSchiborr (Nov 25, 2018)

douggibson said:


> Well God Damn.
> 
> Log on to VI-C for internet addiction and look what we have here. What a surprise !
> 
> ...


Hey Doug, you ayatollah of rock and rolla. I think so. More in the walkthrough then :D


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## HelixK (Nov 25, 2018)

I like music said:


> Where I live, when people say "very, very soon" it means 24-48 hours. What does it mean (in hours) where you live? :D



Are you buying it? Since there are no walkthroughs yet I will be looking forward to hearing your opinion. Will you post examples?

EDIT. @aaronventure is this compatible with breath controllers?


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## I like music (Nov 25, 2018)

HelixK said:


> Are you buying it? Since there are no walkthroughs yet I will be looking forward to hearing your opinion. Will you post examples?
> 
> EDIT. @aaronventure is this compatible with breath controllers?



I'm going to wait to see some more walkthroughs etc but I'm quite likely to buy early at this point unless some completely new info materialises which sways me the other way. Of course, if I do get it, I'll upload examples ASAP!


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## AlexanderSchiborr (Nov 25, 2018)

HelixK said:


> Are you buying it? Since there are no walkthroughs yet I will be looking forward to hearing your opinion. Will you post examples?
> 
> EDIT. @aaronventure is this compatible with breath controllers?


Yepp bc support


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## aaronventure (Nov 25, 2018)

HelixK said:


> Are you buying it? Since there are no walkthroughs yet I will be looking forward to hearing your opinion. Will you post examples?
> 
> EDIT. @aaronventure is this compatible with breath controllers?



I will not by any means let anyone purchase Infinite Brass before putting up a 30min+ walkthrough.

You can assign your breath controller to CC1 and play it in that way, but note velocity will still determine what are the initial "attack" dynamics of the note, so it might take some getting used to. It was designed to be very easy and intuitive to play relying on just note velocity, note duration and CC1 95% of the time.



douggibson said:


> Does it work for big band type materials. Basically, can I get high and write funk music with it ?


Sure thing. Works for flamenco as well.


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## DANIELE (Nov 26, 2018)

I like music said:


> Where I live, when people say "very, very soon" it means 24-48 hours. What does it mean (in hours) where you live? :D



I second that question. :D



aaronventure said:


> I will not by any means let anyone purchase Infinite Brass before putting up a 30min+ walkthrough.
> 
> You can assign your breath controller to CC1 and play it in that way, but note velocity will still determine what are the initial "attack" dynamics of the note, so it might take some getting used to. It was designed to be very easy and intuitive to play relying on just note velocity, note duration and CC1 95% of the time.
> 
> ...



So you want be able to do fast sharp attacks with the power of your breath, is it correct? Why don't you give the option to choose between various control behaviors?

You can choose with SM Brass or Swam Instruments for example.

Thank you.


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## I like music (Nov 27, 2018)

My wife tells me that I don't listen very well. So I'm going to believe her, and apply the sentiment here. What I'm hearing from the demos has sounded very, very, good. Yet the thread isn't nearly as bustling as I had imagined it would be, for a library that sounds this good.

Am I missing something? Is there a reason there isn't more discussion here, about what sounds like a potentially excellent library? Are others hearing something I'm not? Hoping my wife will be proved wrong and my ears are in fact, good.


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## aaronventure (Nov 27, 2018)

DANIELE said:


> So you want be able to do fast sharp attacks with the power of your breath, is it correct? Why don't you give the option to choose between various control behaviors?
> 
> You can choose with SM Brass or Swam Instruments for example.
> 
> Thank you.



There are a LOT of modulators related to the way a note attack sounds and they rely on Note Velocity.

There are "Crescendo Range" and "Crescendo Time" knobs that determine the range of the soft and hard attack scripts, and the ramp up time of the soft attack "crescendo" that you can use to your advantage. If you were to reduce it all the way down, your current Dynamics value (default CC1) will determine the value that is taken instead of Note Velocity.

So having "Crescendo Range" at 0 disables the soft and hard attack scripts and completely detaches Note Velocity of the notes you play from having any impact on how a note attack sounds, letting you play it in with your breath. The instruments now play like some other performance brass instruments out there, with an added benefit of legato. Or if you prefer to play it that way on the keyboard instead of relying on the scripts, or just have soft and hard attacks be more transparent, you can do that too. These two knobs can do a lot to alter your playstyle.



I like music said:


> Am I missing something? Is there a reason there isn't more discussion here, about what sounds like a potentially excellent library? Are others hearing something I'm not? Hoping my wife will be proved wrong and my ears are in fact, good.


A walkthrough will be posted later today, which will explain and demonstrate how everything works.


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## HelixK (Nov 27, 2018)

aaronventure said:


> A walkthrough will be posted later today, which will explain and demonstrate how everything works.


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## DANIELE (Nov 27, 2018)

aaronventure said:


> There are a LOT of modulators related to the way a note attack sounds and they rely on Note Velocity.
> 
> There are "Crescendo Range" and "Crescendo Time" knobs that determine the range of the soft and hard attack scripts, and the ramp up time of the soft attack "crescendo" that you can use to your advantage. If you were to reduce it all the way down, your current Dynamics value (default CC1) will determine the value that is taken instead of Note Velocity.
> 
> ...



Thank you for the explanation, I think I understand what you mean but I wait for the walkthrough to see better these knobs in action.

Another question: how many time the introductory price will stay?

Thank you again.


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## I like music (Nov 27, 2018)

aaronventure said:


> There are a LOT of modulators related to the way a note attack sounds and they rely on Note Velocity.
> 
> There are "Crescendo Range" and "Crescendo Time" knobs that determine the range of the soft and hard attack scripts, and the ramp up time of the soft attack "crescendo" that you can use to your advantage. If you were to reduce it all the way down, your current Dynamics value (default CC1) will determine the value that is taken instead of Note Velocity.
> 
> ...




Looking forward to the walkthrough!!


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## aaronventure (Nov 28, 2018)

Hey everyone!

The walkthrough is up! It's pretty long, as there are a lot of things to go through, and still I didn't fit it _all _inside an hour. There's a lot of playing and the video description contains an index with timestamps. I've updated the original post as well.


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## Wibben (Nov 28, 2018)

Well... There goes my lunch break.. :D


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## I like music (Nov 28, 2018)

You fecking kidding me? I have to fecking travel for the next 24 hours so I won't get to see this in any detail. Well, at least I have something to look forward to!


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## Wibben (Nov 28, 2018)

What kind of wizard are you, Aaron?! This instrument looks like a pleasure to play with and all the expression and sound options... Very cool indeed! Congratulations on its release!


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## rottoy (Nov 28, 2018)

The sound of the library is far more impressive in the walkthrough than the demos.
Congratulations on a stellar release, Aaron!


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## meradium (Nov 28, 2018)

Hmmm... Wondering how much of a difference there is to the Sample Modelling Brass package when combining it with the 2Caudio Breeze 2 reverb and their latest Precedence plugin for spatialization of the sound sources in the hall.

Maybe a little bit easier to setup initially and slightly lower in price... 

Judging from the demos and the videos I have the feeling this package will also have difficulty properly reproducing the bottom end of most of the instruments.

Except for the Tubas it sounds pretty flat. Compare the Horn shorts to the real sample from e.g. Berlin Brass and you know what I am talking about. :(


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## aaronventure (Nov 28, 2018)

meradium said:


> Hmmm... Wondering how much of a difference there is to the Sample Modelling Brass package when combining it with the 2Caudio Breeze 2 reverb and their latest Precedence plugin for spatialization of the sound sources in the hall.
> 
> Maybe a little bit easier to setup initially and slightly lower in price...
> 
> ...



I haven't had time to look into Precendence yet, but it sure does sound interesting. 

You can also compare Berlin Brass' legato patch to any instrument here and try and pull off a solo passage that sounds like a single coherent expression in as much time as it takes you to play it. That doesn't make it a bad library, it's just a different philosophy and approach to creating virtual instruments. 

Lower end notes are always tricky for the real players to play, and often have wild fluctuations. If I had scripted them in, it would have been a single long curve that loops around, so I left it to the user. You can both the pitch and breath fluctuations in yourself. Just wiggle the modwheel and pitchbend. Your finger is on the modwheel anyway, so if you wanna do fluctuations, it doesn't require an extra pass. Pitchbend you'll probably have to punch in additionally, but that's really a minor hassle. As I've said in a post before, the clams and imperfections aren't scripted in, and you're free to do these yourself using very short instances of neighboring notes, pitchbend, CC1, etc, that way they can be your own. 

Any attempts to script stuff like that in often caused more headaches during normal usage because it introduces limits to behaviours, and you then have to spend more time learning to get around it. I much prefer having all of that as options, and if I want, introducing them with a quick punch-in or a quick edit. That's why the library won't stop you from attempting to do, for example, 4-octave trills.


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## meradium (Nov 28, 2018)

aaronventure said:


> I haven't had time to look into Precendence yet, but it sure does sound interesting.
> 
> You can also compare Berlin Brass' legato patch to any instrument here and try and pull off a solo passage that sounds like a single coherent expression in as much time as it takes you to play it. That doesn't make it a bad library, it's just a different philosophy and approach to creating virtual instruments.
> 
> ...



Thanks for the insights, Aaron. But is low-end response really only related to the fluctuations in the playing style? I was under the impression this was more related to the room response... And despite a lot of good progress on the reverb end I still have the feeling this is very very tricky to get right. 

If I listen to the dry signal of a horn and compare it with the wet signals, there is obviously some magic happening that the reverbs still cannot seem to replicate properly.

Btw: I did not say it was a bad library  Solo passages are certainly the thrength of this kind of library. I was just wondering about the bottom end signal response as this is in my opinion a major challenge on the existing SM instruments.


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## aaronventure (Nov 28, 2018)

meradium said:


> . But is low-end response really only related to the fluctuations in the playing style?


Timbre and pitch fluctuations. The tone is the overall frequency response and you can change that with any EQ.

Impulse Responses are static. The only modulation that can happen has to be either at the source, or you apply effects to the convoluted signal (chorus, filters, etc.)

Here's Infinite Brass Horn 1 in a Large Hall, with an EQ (to ballpark the tone of the horn you compared it to) and a 33% of SoundToys EchoBoy






178ms might be a bit much for shorts (it's ringy) but it works in this case.

[AUDIOPLUS=https://vi-control.net/community/attachments/horn-1-low-c-mp3.16739/][/AUDIOPLUS]

If you ask me, that's pretty close. Add any other instrument and it's indistinguishable.

On top of that, you can play/edit the dynamic response however you want (pitch as well, there's only a minor amount pitchwheel at work; upwards at the start of the note). It won't start looping if you hold it for longer than 2 seconds, and every note can be unique to you. Then on top of that, you can apply vibrato, fluttering, do a trill, tonguing, whatever, and it won't ever break cohesion.

Here's an example of breaking this long note and playing two additional notes legato

[AUDIOPLUS=https://vi-control.net/community/attachments/horn-1-low-c-leg-mp3.16741/][/AUDIOPLUS]

Here's the same thing with a big bend in the middle and some flutter on the third note.

[AUDIOPLUS=https://vi-control.net/community/attachments/horn-1-low-c-bend-flutter-mp3.16742/][/AUDIOPLUS]

Both are just quick mouse gestures in Pitch bend and CC 16 lanes. That's as painless as it gets.


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## Wibben (Nov 28, 2018)

Thank you, Aaron! This was a neat trick I've never really thought about before :D
This library sure seems to have a lot of depth


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## aaronventure (Nov 28, 2018)

I'm happy say that Infinite Brass is *OUT NOW*. I'm sorry for the delayed release, and since Black Friday was just a few days ago, I'm taking the intro price down by ~10%.

Infinite Brass will be available for the intro price through Christmas 2018.


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## DANIELE (Nov 28, 2018)

I think this could beat SM Brass, do you plan some strings and woodwinds in the future? I'm looking at the walkthrough and I love it.


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## aaronventure (Nov 28, 2018)

DANIELE said:


> I think this could beat SM Brass, do you plan some strings and woodwinds in the future? I'm looking at the walkthrough and I love it.



Indeed I do. Also other brass instruments like Euphoniums and Wagner Tubas in a smaller expansion. I plan to experiment with voice as well, and see what can be done in that area.


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## AlexanderSchiborr (Nov 28, 2018)

Let me chime just to say something in general: While I worked since the early beta days with Aaron and his library I pretty much was a witness of how Aaron created that library. I have highest respect of him and it is his first library and I think that is very impressive what one guy (= one man army) has achieved so far. Also Aaron (and I know him for quite a time and pretty good) is not shy to take all feedback in cosideration and works on updates and also has excellent support ethic. He is not the guy who is like: Ok infinite brass is done, and lets move on. No, this library is for him a long term project and he will always improve things. While I know that there might be better polished demos out there I think the demos sound fairly solid expecially considering how less time he and I had.(I had double shift works and was often sitting until midnight still doing stuff after having already sequenced 13 hours a day) 
However he is planning also to create more stuff, like strings, and woodwinds and working on expansions for the brass. I say: Congratulations Aaron for creating that library and I am looking forward to see more and I am grateful that I was ask to betatest the library and writing a few demos for it.


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## wbacer (Nov 28, 2018)

Congrats Aaron and Alexander, sounds amazing. What DAW are you using in the screencasts?
Glad I didn't spend all my money on BF.


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## I like music (Nov 28, 2018)

It sounds lien a fantastic library. I spent two years waiting for CSB and accidentally stumbled across this thread, and now I think I'm going to buy this...

@aaronventure is there any chance you could play in some short notes at their most aggressive please? Or something like what (I think I remember) the horns are doing during Goldsmiths star trek when they are doing strong stacc on the chord ...


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## tonaliszt (Nov 28, 2018)

Looks and sound very good. 
Could you please let me know what some of the tech words mean?
Particularly interested in "Smart Legato" and "Non-Linear Scripting". 
Must have been very challenging to phase align the wet samples. I'm not sure any other dev has figured that out.


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## DANIELE (Nov 28, 2018)

aaronventure said:


> Indeed I do. Also other brass instruments like Euphoniums and Wagner Tubas in a smaller expansion. I plan to experiment with voice as well, and see what can be done in that area.



Great to hear that, I can't wait to see what come next and what updates you will bring to us. Said that I love your approach to digital instruments. This is what I'm looking for from a library this days, one patch that could do everything, I have so many difficulties in using multi-articulation libraries, it is so time demanding and inspiration killing.

Well...you could try with percussions too...I'd love to have some AV orchestra under the hood.



wbacer said:


> Congrats Aaron and Alexander, sounds amazing. What DAW are you using in the screencasts?
> Glad I didn't spend all my money on BF.



He is using the great Reaper (my DAW too).



I like music said:


> It sounds lien a fantastic library. I spent two years waiting for CSB and accidentally stumbled across this thread, and now I think I'm going to buy this...
> 
> @aaronventure is there any chance you could play in some short notes at their most aggressive please? Or something like what (I think I remember) the horns are doing during Goldsmiths star trek when they are doing strong stacc on the chord ...



I second that, I'd like to listen to some strong staccato accents, it's always difficult to find a library that accomplish this well. From what I looked at I think this one could do it.


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## Pixelpoet1985 (Nov 28, 2018)

@aaronventure 

The technical walkthrough is fantastic, congratulations! I'm still listening, but the horn demos you played in are great: LOTR, Star Wars etc. So far, I would prefer your legatos to SM brass.

I really appreciate the playability, there is so much thinking involved from your part in the scripting. The big companies should take this as an example. I think this is the way to go for the future, to have performance patches.

Oh, my, since I am an Audiobro fanboy, this is quite a difficult decision to make. :( The price is very tempting...

I have a final question on auto-divisi. I use the divisi multiscript (https://vi-control.net/community/threads/multi-divisi-script-v6-21.59985/) for SM brass. Can your library be played with this multiscript? Because some libraries have difficulties with it, especially with legatos.

Thanks for your feedback.


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## I like music (Nov 28, 2018)

Bought it. Money I was intending to fix all the fences in the back garden. @aaronventure any chance you could send my neighbours the walk through video so that they can appreciate why I had to do what I did, and that the fence now won't be fixed until 2019? I mean it kind of is your fault...


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## AlexanderSchiborr (Nov 28, 2018)

DANIELE said:


> Great to hear that, I can't wait to see what come next and what updates you will bring to us. Said that I love your approach to digital instruments. This is what I'm looking for from a library this days, one patch that could do everything, I have so many difficulties in using multi-articulation libraries, it is so time demanding and inspiration killing.
> 
> Well...you could try with percussions too...I'd love to have some AV orchestra under the hood.
> 
> ...



The staccatos are very crisp and they can get really loud and punchy, especially in the trombones they are freaking agressive if you want so.


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## AlexanderSchiborr (Nov 28, 2018)

And don´t forget guys, he recorded 3 Tenor Trombones, 3! Bass trombones, and holy shit 3 Contrabass trombones..I mean....that are a phalanx of 9 Bones.. NINE!


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## Wibben (Nov 28, 2018)

AlexanderSchiborr said:


> And don´t forget guys, he recorded 3 Tenor Trombones, 3! Bass trombones, and holy shit 3 Contrabass trombones..I mean....that are a phalanx of 9 Bones.. NINE!



"Cry 'Havoc!', and let slip the bones of war".


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## AlexanderSchiborr (Nov 28, 2018)

Wibben said:


> "Cry 'Havoc!', and let slip the bones of war".



hehe..well the cool thing is that he capture imo the sound of bones really great. And they are so dynamic can go really quite but also nasty loud with the buttersweet crossfading. And the cool thing: If you want to dial in your own sound, lets say to use your own convolution or even work bone dry, you can also do that. I think this brass is one of most flexible workhorses I have seen so far.


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## resound (Nov 28, 2018)

aaronventure said:


> note velocity will still determine what are the initial "attack" dynamics of the note



This is brilliant. I always wished my sample libraries worked this way.

Checking out the walkthrough...


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## HelixK (Nov 28, 2018)

The walkthough was fun to watch, some fresh concepts that other devs should consider for their "playable" instruments. Interested in hearing users opinions and demos.


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## Karl Feuerstake (Nov 28, 2018)

I've listened to the walkthrough, and I dislike how in it many of the notes are given a soft attack by being rode in on the mod wheel... this sounds quite unrealistic. Brass 'soft' attacks and swells like that just sound wrong to me, especially when on every single note _all the time_.


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## reutunes (Nov 28, 2018)

Karl Feuerstake said:


> I've listened to the walkthroughs and watched the demos. There's something really odd about this library. This doesn't sound like brass.... it sounds bizarre and really off putting. The attacks are wierd and the timbre is .. wrong .. and 'pedal tones' of various instruments just sound like normal notes instead of pedals. The mutes are really unusual too, like you minus well go with Wallander Instruments' brass...
> 
> I dunno, maybe part of it was that in the walkthrough, all the notes are given a soft attack by being rode in on the mod wheel... this is of course, extremely unrealistic. Brass 'soft' attacks and swells like that just sound wrong especially when on every single note _all the time_. It's not idiomatic. At all.
> 
> p.s. I play bass and contrabass trombone.



Please note the forum guidelines for this section of VI Control:

"Also, note that Commercial Announcements are a “safe zone” for the companies who post. Negative comments or discussion about competing libraries are not allowed. Sample Talk and all other areas of the forum are free game, of course, but in this section, we ask that the companies not have to deal with any conflict"


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## Karl Feuerstake (Nov 28, 2018)

reutunes said:


> Please note the forum guidelines for this section of VI Control:
> 
> "Also, note that Commercial Announcements are a “safe zone” for the companies who post. Negative comments or discussion about competing libraries are not allowed. Sample Talk and all other areas of the forum are free game, of course, but in this section, we ask that the companies not have to deal with any conflict"


Edit: I've edited down my previous post to regard only the walkthrough and not my personal feelings about timbre etc.


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## SimonCharlesHanna (Nov 28, 2018)

Karl Feuerstake said:


> So you want me to make a thread without owning the library, just to say the walkthroughs are unrealistic?


yep


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## reutunes (Nov 28, 2018)

Karl Feuerstake said:


> So you want me to make a thread without owning the library, just to say the walkthroughs are unrealistic? Also seems unfair to me


Yes please. I think the fact that you *don't* own the library and are still posting negatively on the owner's Commercial Announcements thread is even more reason.


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## aaronventure (Nov 29, 2018)

tonaliszt said:


> Looks and sound very good.
> Could you please let me know what some of the tech words mean?
> Particularly interested in "Smart Legato" and "Non-Linear Scripting".
> Must have been very challenging to phase align the wet samples. I'm not sure any other dev has figured that out.



I've called it Smart Legato because of its anticipation of playing speed. If you're playing fast but hit the notes with low velocity, it will speed up the transitions so that you don't get thrown off during the performance. It's pretty useful for trombones and trumpets which have slow(er) portamentos on very low velocities. Also, if you're playing a trill, the legato script will adjust its speed limits accordingly. 

By Non-Linear Scripting I meant all the randomness introduced. Breath and pitch fluctuation, and controllers which the modulators that influence various parameters of a note attack depend on.

Infinite Brass was recorded dry, so that made an impact. I haven't tried it with wet samples 



Pixelpoet1985 said:


> The technical walkthrough is fantastic, congratulations! I'm still listening, but the horn demos you played in are great: LOTR, Star Wars etc. So far, I would prefer your legatos to SM brass.
> 
> I really appreciate the playability, there is so much thinking involved from your part in the scripting. The big companies should take this as an example. I think this is the way to go for the future, to have performance patches.


Thanks, playability was my #1 goal. I tried to envision multiple playstyles which is why the Cresc. knobs were included, but I still might have overlooked some stuff. I'm looking forward to hearing more feedback as people put it to use so I can take it even further.



Pixelpoet1985 said:


> I have a final question on auto-divisi. I use the divisi multiscript (https://vi-control.net/community/threads/multi-divisi-script-v6-21.59985/) for SM brass. Can your library be played with this multiscript? Because some libraries have difficulties with it, especially with legatos.


I tried it out and it works, legato and all. There's a minor delay as you hit a note so playing shorts might be a bit weird. I see how you could load in another set of patches that won't take up RAM and use them on an "ensemble, multidivisi" track. I would, however, truly recommend playing in each instrument on its own, or at least create note duration and velocity differences if you do copy/paste or punch in multiple at the same time, as well as re-perform the CC1. With all the sensitivity and wide dynamic range, an ensemble being perfectly in sync sounds a bit wierd (as you've heard in the walkthrough).



I like music said:


> Bought it. Money I was intending to fix all the fences in the back garden. @aaronventure any chance you could send my neighbours the walk through video so that they can appreciate why I had to do what I did, and that the fence now won't be fixed until 2019? I mean it kind of is your fault...


Thank you. Hah, I'm sure we can arrange something!


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## aaronventure (Nov 29, 2018)

Karl Feuerstake said:


> I've listened to the walkthroughs and watched the demos. There's something really odd about this library. This doesn't sound like brass.... it sounds bizarre and really off putting. The attacks are wierd and the timbre is .. wrong .. and 'pedal tones' of various instruments just sound like normal notes instead of pedals. The mutes are really unusual too.
> 
> I dunno, maybe part of it was that in the walkthrough, all the notes are given a soft attack by being rode in on the mod wheel... this is of course, extremely unrealistic. Brass 'soft' attacks and swells like that just sound wrong especially when on every single note _all the time_. It's not idiomatic. At all.
> 
> p.s. I play bass and contrabass trombone.


I'm sorry that your think that.

The soft attacks aren't being rode in on the modwheel, they're being determined by note velocity. You can either disable it or reduce the range of the soft attack with the Cresc. Range knob, and then you'll have to ride them on the modwheel. Note velocity determines where the initial dynamic of a note will be, and the script then fades this dynamic into your current modwheel value. While not exactly the same, soft attacks will sound similar if played in succession with the same note velocity, so I do smaller swells on the modwheel, along with the soft attack, so that the curve looks different every time. 

If you've watched the second half of the walkthrough, you'll have seen this in action in MIDI. I also demonstrate it at one point earlier on.


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## reutunes (Nov 29, 2018)

aaronventure said:


> I'm sorry that your think that.
> 
> The soft attacks aren't being rode in on the modwheel, they're being determined by note velocity. You can either disable it or reduce the range of the soft attack with the Cresc. Range knob, and then you'll have to ride them on the modwheel. Note velocity determines where the initial dynamic of a note will be, and the script then fades this dynamic into your current modwheel value. While not exactly the same, soft attacks will sound similar if played in succession with the same note velocity, so I do smaller swells on the modwheel, along with the soft attack, so that the curve looks different every time.
> 
> If you've watched the second half of the walkthrough, you'll have seen this in action in MIDI. I also demonstrate it at one point earlier on.



Pure class


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## axb312 (Nov 29, 2018)

Karl Feuerstake said:


> So you want me to make a thread without owning the library, just to say the walkthroughs are unrealistic? Also seems unfair to me



Kind of a silly rule but yes, it is a rule (I believe it has something to do with a lot of these vendors also paying for ADs and keeping this site up).

Anyhow, Mr. Aaron is a nice guy as demonstrated above - perhaps slightly better phrasing would've achieved a better result (eg. Can the library do xyz (your expectations)), while sticking to the rules.

Looking forward to hearing user feedback on this. Perhaps a review @reutunes ?


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## AlexanderSchiborr (Nov 29, 2018)

Karl Feuerstake said:


> I've listened to the walkthroughs and watched the demos. There's something really odd about this library. This doesn't sound like brass.... it sounds bizarre and really off putting. The attacks are wierd and the timbre is .. wrong .. and 'pedal tones' of various instruments just sound like normal notes instead of pedals. The mutes are really unusual too.
> 
> I dunno, maybe part of it was that in the walkthrough, all the notes are given a soft attack by being rode in on the mod wheel... this is of course, extremely unrealistic. Brass 'soft' attacks and swells like that just sound wrong especially when on every single note _all the time_. It's not idiomatic. At all.
> 
> p.s. I play bass and contrabass trombone.



Hej Karl,

The attack of the notes are not all soft, you can control them with the velocities and modwheel. I think Aaron covered that in the video. Regarding the tone which you find odd or even bizarre, sure you are entitled to your own opinion.


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## ghandizilla (Nov 29, 2018)

Main selling point here is the playability. I'm not really fond of the tone (but I'm not a brass player) ; still, this seems to be a great tool with a notation software.


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## Paul T McGraw (Nov 29, 2018)

Congratulations @aaronventure on this major accomplishment! I just saw this thread today and I was so surprised! I had no idea you were working on your own library. I do not play keyboard, so the keyboard performance aspect is not important for me. Despite that fact, there are so many things I like about the library that *I am buying it* today. 

I really like the sound of your trombone!


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## Karl Feuerstake (Nov 29, 2018)

aaronventure said:


> I'm sorry that your think that.
> 
> The soft attacks aren't being rode in on the modwheel, they're being determined by note velocity. You can either disable it or reduce the range of the soft attack with the Cresc. Range knob, and then you'll have to ride them on the modwheel. Note velocity determines where the initial dynamic of a note will be, and the script then fades this dynamic into your current modwheel value. While not exactly the same, soft attacks will sound similar if played in succession with the same note velocity, so I do smaller swells on the modwheel, along with the soft attack, so that the curve looks different every time.
> 
> If you've watched the second half of the walkthrough, you'll have seen this in action in MIDI. I also demonstrate it at one point earlier on.



Hi Aaron, I've edited my post down to just express my concerns in the walkthrough. I still think it was a valid concern and you addressed it well with your response. Best of luck with your launch.


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## Zhao Shen (Nov 29, 2018)

Karl Feuerstake said:


> So you want me to make a thread without owning the library, just to say the walkthroughs are unrealistic? Also seems unfair to me



Yeah I was put off by the rule at first, but if you think about it, it does make sense. Commercial Announcements are basically interactive ads where developers can announce and explain their products without having to deal with the variety of criticism ranging from fair and thoughtful to ridiculous and insulting. It's where you go to keep up with all the latest product news.

That being said, as a result of this you should never turn to a Commercial Announcements thread to gauge community response to a product, as negative views will be basically absent. That's what Sample Talk is for.


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## aaronventure (Nov 29, 2018)

Karl Feuerstake said:


> Hi Aaron, I've edited my post down to just express my concerns in the walkthrough. I still think it was a valid concern and you addressed it well with your response. Best of luck with your launch.


Your concern is much more clear now, thanks for rephrasing. 

It's just my performance, then.

Anyone can play it however they want. I don't claim to be the best performer, I'm sure there will be people who'll be better at playing Infinite Brass than me. I go into MIDI and/or re-perform to fix my mistakes all the time.


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## AlexanderSchiborr (Nov 29, 2018)

Zhao Shen said:


> Yeah I was put off by the rule at first, but if you think about it, it does make sense. Commercial Announcements are basically interactive ads where developers can announce and explain their products without having to deal with the variety of criticism ranging from fair and thoughtful to ridiculous and insulting. It's where you go to keep up with all the latest product news.
> 
> That being said, as a result of this you should never turn to a Commercial Announcements thread to gauge community response to a product, as negative views will be basically absent. That's what Sample Talk is for.



I mean there might be always something to critizise still I appreciate it when it keeps a balance between both worlds so that somebody sais also what he likes about something _and not only what he doesn´t_. But everybody is different.


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## DANIELE (Nov 29, 2018)

I love the concept of a library where only the performance is the limit. This transaltes to a long time of study to achieve the best result, this means that a library is alive and not "dead" after a little time of using it.


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## HBen (Nov 30, 2018)

Oh, this is lovely, and I really would like to pick it up. A difficult decision to make after so much spending during this Black Friday....


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## AlexanderSchiborr (Nov 30, 2018)

Hej Guys, some people asked about naked sound and Aaron showed in his walkthrough some stuff he did with some star wars. So I thought to give it also a try. I was sitting here an hour to sequence that short demo and surerly..it is not perfect programmed to death but I think a bit more what it could sound like when you have more time. Setup is 4 Trumpets, 3 Tenor Bones and 1 Bass bone, medium Hall default settings.


Mocking up naked starwars brass is always very hard and tricky and samples always fall apart. However, I think the brass has a lot of potential and it reacts really also what you put in, like SM.


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## Paul T McGraw (Nov 30, 2018)

douggibson said:


> purchased. oh what shall I do while waiting for the download if all I want is to get high
> and write funk music with it? What ever shall I do ?



I am shocked. Doug Gibson is going to get into using samples????????? What could it all mean? Is the world coming to an end? Has Doug Gibson been taken over by alien mind control? Is another Star Wars movie even now in production? No, wait, that last one doesn't have anything to do with Doug Gibson . . . or does it?


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## aaronventure (Dec 20, 2018)

*Patch Notes – v1.1 (December 20th 2018)*
*Global*

Processing of samples scaled back — less modwheel input required for a more natural sound
Pitch fluctuation adjustments for all instruments — better-sounding unisons
Project vision moved away from having different "colors" on different positions — re-balanced all of the IRs towards a consistent tone of each instrument family across all positions/rooms (room resonances remain untouched).
Added the Playable Vibrato switch for each instrument (the "Play" icon next to the Vibrato Intensity slider) — Switching it off will prevent you from playing vibrato right on the modwheel, and prevent the script from making predictions as to whether you're attempting to play vibrato based on the modwheel pattern, as well as causing minor pitch changes on fast movements
Dynamic Range slider extended, and maintaining roughly the same volume across all dynamics is now possible

*Trombones*

Minor adjustments to attack strength based on velocity (a bit easier to play softer attacks)
Breath fluctuation adjustments in the lower octaves - more natural sound
Fixed imaging on Spot mics for positions R 1 - R 6 in the Scoring Stage

*Tubas*

IR Mic Positions Re-Mixed - a more roomy sound on Main and Ambient mics
Breath fluctuation adjustments in the lower octaves - more natural sound

*Trumpets*

Minor adjustments to the way attacks sound
Breath fluctuation adjustments across the entire range

*Horns *

Breath fluctuation adjustments across the entire range


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## aaronventure (Jan 20, 2019)

Infinite Brass has been updated to version 1.2.

Horns have been completely reworked, and there are major improvements to attacks and unison playing across the board. Watch the rundown video:



*Patch Notes – v1.2*
 
*Global*

Character profiles – pick a Natural, Clear, Full or Modern sound
Glide Depth – dial in the amount of dynamics “dip” during a glide transition
Pitch bend range increased to a semitone
 
*Horns *

Reworked from the ground up
Tone adjustments across the entire range
Pitch behavior adjustments during release
Adjustments to embouchure resonance on attack
Better unisons, even when copy-pasting MIDI/playing all horns at once
Easier to play and More natural-sounding attacks

 
*Trumpets, Trombones, Tubas*

Tone adjustments across the entire range
Pitch behavior adjustments during release
Attack adjustments


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## lucor (Jan 20, 2019)

#*%& me, great job on the Horns, they sound MUCH better.


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## I like music (Jan 20, 2019)

aaronventure said:


> Infinite Brass has been updated to version 1.2.
> 
> Horns have been completely reworked, and there are major improvements to attacks and unison playing across the board. Watch the rundown video:
> 
> ...




Hell yeah! I barely got to play with 1.1 as I have been away on business and then building a home "studio" so the computer has been off for way too long! But the first thing I'll do when I turn it on is download this! Thanks Aaron Looking forward to using the updates


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## AlexanderSchiborr (Jan 20, 2019)

Hey Mate, the horns are imo a huge improvement and I am applauding your exceptionally ethics in reworking everything there from scratch, something what I don´t see anybody else barely does if not nobody really. Thanks for beeing part of that journey from the very beginning.


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## I like music (Jan 20, 2019)

Now I'm triple intrigued! Looking forward to trying in a few days! Thanks Aaron for revisiting and tweaking!


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## I like music (Jan 20, 2019)

lucor said:


> #*%& me, great job on the Horns, they sound MUCH better.



*&*k me. By the sound of that walkthrough, they do indeed!!!


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## axb312 (Feb 20, 2019)

What was the intro price on this?


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## aaronventure (Feb 20, 2019)

axb312 said:


> What was the intro price on this?


It was 25% off.


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