# Fitting Sample Modeling Brass with everything else



## Lawson. (Dec 3, 2015)

I have had SM's Trumpet and Trombone for a while now. They sound great, but I can't seem to get them fitting into the mix, and have kind of put them aside for non-orchestral projects.

Recently, I heard that insane Star Wars trailer mock-up that I'm sure you all have seen. Apparently the brass was Sample Modeling! I must not be using them correctly as I (as well as a lot of other people) thought it might have been a real orchestra, while I can only get it working in a pop/jazz/overall-dry environment.

Does anyone have some advice with this? I've been trying to use Spaces by taking out most of the dry signal with the Hollywood Scoring Stage preset (and using no pre-delay) and then adding a tail with S. Cal. Hall. It sounds alright, but not that great. Currently, I would still use Spitfire or EW for brass because even if the legato isn't as good, the timbre and room still sound superior.

I would really appreciate some help with this. I've also been wanting to get the rest of the SM brass, but never pulled the trigger because I couldn't get the ones I have now placed correctly in the room.

FWIW, I have QL Spaces (my go-to for everything), Waves' ProVerb (which I was able to pick up for free during Black Friday), and the basic stuff that comes with DP.

Thanks!

EDIT: I forgot to mention that I can't seem to keep it from phasing when having multiple trumpets play the same part. I'm using different CC data and changing the notes a small bit as well.


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## trumpoz (Dec 3, 2015)

Hi Lawson, 

For SM Trombone I tend to use VSS and EW Studio 1 (Spaces) on each individual track to try and match the HB room. From there I send that signal post FX to the brass reverb (usually So_Cal Brass TPT_TRB or whatever it is called from Spaces). With VSS/Spaces on the individual tracks it is a case of adjust and season to taste.


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## erica-grace (Dec 3, 2015)

Lawson. said:


> Apparently the brass was Sample Modeling!



Are we sure it was just SM, or were the SM patches layered with something else? Like CS, SF, etc.

I dont own any SM, but I think it's fair to say that a good reverb works well here.


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## germancomponist (Dec 3, 2015)

Did you ever record a vocal for a song? How did you mix this?


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## tack (Dec 3, 2015)

I've been playing with this the past few days as I also recently picked up SM's brass. (I wonder if the folks at Sample Modeling have been wondering why sales have spiked this week?) Previously, for dry instruments I've been using VSS2 and then a send to ValhallaRoom for tails. Valhalla is great (usually), but I've been somewhat underwhelmed by VSS2's ERs.

I've been trying EAReverb2 and I think it does a good job putting dry instruments in a room. I've been comparing it with SPAT (I am trying the demo) which I am still trying to find my way around, but given the substantial price difference, EAReverb2 is showing excellent value for the money.

So I'd say go pick up the demo for EAReverb2 and try it out on SM and see how you like it.


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## tack (Dec 3, 2015)

Lawson. said:


> EDIT: I forgot to mention that I can't seem to keep it from phasing when having multiple trumpets play the same part. I'm using different CC data and changing the notes a small bit as well.


Are you using the separate Trumpet 1/2/3 patches from SM? They are specifically tweaked to layer with one another and minimize phasing.


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## Assa (Dec 3, 2015)

Hi Lawson,

I'm currently testing this a little bit too. I have already integrated SM Brass in my orchestral template for quite a while and I think it was quite okay sounding, but just like you I heard the great star wars mockup and I'm looking for a way to improve. Usually the "trick" I used was to use a Valhalla Verb on an insert with a short decay (~ 1sec) but 100% wet. With this approach the dry sound vanishes and it sounds way more orchestral. The issue I had was that it still sounded very close (positioning wise), even when I used QL Spaces. I just downloaded VSS2 to test it, and I think this works way better for me. As I mentioned, I'm still in testing phase and just used VSS for a few minutes but you might find this comparision useful:

It's SM trumpets and I used Strezov bones an octave lower, for the sake of having a library already recorded in in place as a reference. One version is totally dry, the other one with Valhalla+VSS. Both version do not contain a tail reverb.

http://amadeus-pakmur.com/SM BRASS Dry-01.mp3

http://amadeus-pakmur.com/SM BRASS Wet-01.mp3

Still doesn't sound perfect at all, but I think I can get there when I spend a little bit more time. And since I read your thread and was testing it anyway atm I thought it might help you a little bit as a first input.


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## Lawson. (Dec 3, 2015)

@trumpoz 
Cool, thanks, Richard! I tried that Spaces impulse and it is sounding a bit better. Gonna keep messing with it. I don't have VSS, but I do have Proximity. Is that an suitable basic replacement?

@erica-grace 
Layering it with HB doesn't work that bad, actually!

@germancomponist 
Yes, but the songs have been quite dry. In fact, the singer requested no reverb. 

@tack 
Just downloaded the demo for EAReverb and I'm looking forward to trying it. And yes, I'm using the other trumps provided.

@Assa 
Downloading the Valhalla demo now!

The only problem that I can think of with getting this mixed in well, is that besides buying whatever reverb I need, I'll want to buy the rest of their brass! I almost want to just stay happy with my HB and keep my wallet happy.


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## JohnBMears (Dec 3, 2015)

VSS can be demoed too! It just won't save settings. Sample Modeling and VSL really get helped by VSS.


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## ZeeCount (Dec 3, 2015)

I've tried using B2 and VSS2 for spatilisation and I've settled on using eaReverb 2 for ERs and placement and B2 for the tail. B2 sounded quite good, but was far too CPU intensive to use in my template, and I wasn't a fan of what VSS2 did to the sound at all. I'm quite happy with eaReverb, though I would love to move to SPAT some time which I was very impressed with the demo of.


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## Jacob Cadmus (Dec 3, 2015)

My test with all Valhalla verbs; VRoom for ER and VintageVerb for tail.

https://www.dropbox.com/s/17hq66gziojm89v/Star Wars SM brass test.mp3?dl=0


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## Maestro1972 (Dec 3, 2015)

ZeeCount said:


> I've tried using B2 and VSS2 for spatilisation and I've settled on using eaReverb 2 for ERs and placement and B2 for the tail. B2 sounded quite good, but was far too CPU intensive to use in my template, and I wasn't a fan of what VSS2 did to the sound at all. I'm quite happy with eaReverb, though I would love to move to SPAT some time which I was very impressed with the demo of.



I have had SM brass for some time and THOUGHT that I had them sounding better than okay. Then I too watched the before mentioned trailer and fell victim to "whoa...wha...how'd he do that!"

ZeeCount, I too have recently discovered EAReverb and have been playing around with it for a couple of days. Would you mind sharing what presets you are using? B2 while you're at it. I tried using B2 but the results were less than I hoped for. Spaces Berlin Church 2.2 FR and RR.

I agree with you on VSS2. It's a wonderful product but the ER's just don't do it for me either.


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## LHall (Dec 3, 2015)

Make sure you're using Trumpet 3. I had phasing problems with the earlier Trumpet, but since updating to the latest version I have no problems in a unison orchestral setting as long as I use the trumpets designed for ensemble use.


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## muk (Dec 4, 2015)

There are some pointers on SampleControl's youtube channel about his/her reverb setup:





The reverbs used are Altiverb's Todd AO and/or 2cAudio B2 apparently. The most important rule according to the video: kill the dry sound completely. That's right, 0% dry sound. Maybe you can ask him/her directly about the exact settings. An old thread implies that he/she was frequenting this forum:

http://vi-control.net/community/thr...hat-does-this-instruction-vid-refer-to.35536/


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## Hannes (Dec 4, 2015)

Maestro1972 said:


> I tried using B2 but the results were less than I hoped for.


Blakus did a walkthrough video, where he used Sample Modeling and a "Large Room" preset (100%Wet) of the B2 Reverb as ERs, to make them sound more distant. Did you try that?


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## Ryan (Dec 4, 2015)

I use the B2 reverb.

One important rule is to think like a sound engineer.
What came first?
Sound from player?
or EQ and then sound from player?

One video:


I have more videos of them on my site.


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## lucor (Dec 4, 2015)

Regarding B2 check out Blakus' video and how he has done it. I know you don't own it but maybe you can kind of recreate something similar with your tools.



The preset he used shows up at 13:26, and that preset was actually created by Sam aka HeadShot aka the guy who did that insane Star Wars mockup.


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## vicontrolu (Dec 4, 2015)

Link to this mockup please?


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## lucor (Dec 4, 2015)

vicontrolu said:


> Link to this mockup please?



And the thread on VIC: http://vi-control.net/community/threads/the-force-awakens-trailer-rescored-with-original-music.50053/


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## jason.d (Dec 4, 2015)

I've gotten the best results using B2, specifically the settings shown in Blakus' video. At first I tried messing with the mix, but it really loses that depth if its not 100% wet. That is the key.

I tried eaReverb 2 with the same trumpet passage and it had some nasty upper frequencies in there that wouldn't exist if the instrument really was further back. An EQ helped when lowering the high range, so I kept it in. Leaving in the EQ made the B2 result even better, but when I turned off B2 and turned on eaR, it still didn't sound as good as the result with B2.

I'm personally having better results with ERs using B2 than eaR or even altiverb, at least with Sample Modeling.


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## Daryl (Dec 4, 2015)

A lot of this information in this thread is out of date. Firstly make sure you are using the latest updates. The Trumpet used to be the biggest problem. All this "kill the dry signal". Not any more. Currently it is the easiest one to deal with.

I'm not at home at the moment, so I can't give a little tutorial, but you can even just use the normal send method with the latest version. Then if you want the whole thing to appear further back without losing clarity, just use the distance feature.

However, there are also a number of questions that you need to answer for yourself before you start working:

Do you want it to sound like another sample library?
Do you want it to sound like a film orchestra?
Do you want it to sound like a recorded orchestra?
Do you want it to sound like an orchestra?
Each of these requires a slightly different approach, and you'd be surprised by how many people actually are trying for #1. when that is the least important, IMO.

D


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## ryanstrong (Dec 4, 2015)

tack said:


> I've been comparing it with SPAT (I am trying the demo) which I am still trying to find my way around, but given the substantial price difference, EAReverb2 is showing excellent value for the money.



I would have thought given it's praise and price SPAT was a no brainer from the get go. I haven't had time to demo it, but you are finding it not as impressive right away?


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## Daryl (Dec 4, 2015)

SPAT is fantastic, but not as necessary as it was with the earlier versions of SM Brass.

D


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## jason.d (Dec 4, 2015)

Daryl said:


> A lot of this information in this thread is out of date. Firstly make sure you are using the latest updates. The Trumpet used to be the biggest problem. All this "kill the dry signal". Not any more. Currently it is the easiest one to deal with.
> 
> I'm not at home at the moment, so I can't give a little tutorial, but you can even just use the normal send method with the latest version. Then if you want the whole thing to appear further back without losing clarity, just use the distance feature.
> 
> ...


Good points Daryl. I think it really depends on the direction you're going, like you said.

Although I don't think that the techniques discussed in this thread are necessarily out of date. I have the latest version of the trumpet and trombone, and have used the ER and distance controls. I actually prefer the sound of the method I posted above, instead of cranking up the early reflections in the library itself. Maybe I'll have it on but turned down pretty low, but this is just my preference.

We all have our own preferences for how we want the end sound to be, so there's no wrong method. I will probably use the ER within the trumpet and just use a tail reverb for something more jazzy, as the tone is definitely more beefy that way. I think all the methods everyone posted is really helpful, and I'm going to continue experimenting and trying out new techniques. It just goes to show how versatile Sample modeling instruments are. The possibilities are literally endless, assuming you have all the right tools.


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## tack (Dec 4, 2015)

ryanstrong said:


> I would have thought given it's praise and price SPAT was a no brainer from the get go. I haven't had time to demo it, but you are finding it not as impressive right away?


SPAT is definitely not a no-brainer exactly _because_ of its steep price.

IMO, the distance between SPAT and EAReverb2 is not as massive as the distance between EAReverb2 and my previous positioning solution (VSS2+ValhallaRoom). I can definitely hear a difference between SPAT and EAReverb2 -- I'd describe SPAT as more clinical (it doesn't color the sound much) and much more flexible in positioning -- but the price gulf between the two products is significant.

To Daryl's point about the virtual soundstage features in the later SM releases, my ear still prefers either SPAT or EAReverb2 processing the dry SM. By a good margin, actually. (Probably that margin could be shrunk with judicious EQ. But the less I have to work for That Sound the happier I am.)


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## ryanstrong (Dec 4, 2015)

tack said:


> IMO, the distance between SPAT and EAReverb2 is not as massive as the distance between EAReverb2 and my previous positioning solution (VSS2+ValhalaRoom).



Got it!! Thank you for clarifying, makes sense. I'm now interested in EAReverb2. I have Lexicon PCM for tail/reverb and am happy with that, just needing to create a nice room sound and positioning, and unfortunately it's not working with VSS/Lexicon combo and I think VSS is to blame here.


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## tack (Dec 4, 2015)

ryanstrong said:


> just needing to create a nice room sound and positioning, and unfortunately it's not working with VSS/Lexicon combo and I think VSS is to blame here.


You can turn off the late reverb in EAReverb2 by dropping the ER leak and LR Direct In dials to -inf. Then you can fire that into your plugin of choice for tails. As far as my understanding goes, this would be equivalent to letting EAReverb2 do the tails with 100% ER Leak (notwithstanding of course the fact that the late reverb algorithm would be completely different).

Unfortunately at the moment, although you can disable LRs acoustically with EAReverb2, it still crunches away at computing the reverb tails (on a null signal), so the CPU is busy for no particular reason. You can set the reverb algorithm to Plate to improve that (again with no acoustic difference). I emailed the author about this and he was very receptive to adding the capability to completely disable the LR and ER modules, so I think we will be seeing that in an upcoming update.

Do try the demo. Also try Daryl's advice of using SM itself to do the positioning and maybe save yourself the 99 euros.


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## ZeeCount (Dec 4, 2015)

Maestro1972 said:


> ZeeCount, I too have recently discovered EAReverb and have been playing around with it for a couple of days. Would you mind sharing what presets you are using? B2 while you're at it. I tried using B2 but the results were less than I hoped for.



For B2 I was using a combination of the preset that Blakus showed in his template vdeos along with a few custom ones I built myself when trying to mimic the sound of the BML series brass. The biggest struggle I had with B2 was trying to make something sound like it was about 5m away, It's fairly easy to get that distant back-of-the-hall sound out of B2, but the closer stuff, not so much. The other issue was that I wanted to have a separate ER for every single brass instrument, but in my setup more than 3 B2 instances would max out my ASIO buffer. For a while I was experimenting with using the voxengo deconvolver to make IRs of my B2 setup but it was an awful lot of work, and I only was scratching the surface of it when eaReverb came out.

In eaReverb, I'm currently just using the Audotorium ER preset which I've tweaked a little and the modulation turned off. This all then gets sent to a single instance of B2 for a tail, which I've got set to a tweaked version of the berlin hall preset (mostly just shorter and with the high end dampened).

SPAT was pretty damn fantastic, but at its price point I can't really justify the purchase. It's almost $2000 NZD after currency conversion.


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## Lawson. (Dec 6, 2015)

Thanks a ton for all of the comments, guys! I've tried out demos for a bunch of reverbs, tested out different combos of positioning, dry/wet mixes, etc.

After about 4 days of tweaking, here is my result:


Any comments would be greatly appreciated. I may have put too much vibrato, but then again I'm a string player so there's no such thing as too much vibrato.  Still not sure if I like the reverb, but it's a lot better than it used to be, and I don't actually know what I can do to improve it.

Also, @Daryl , I'm trying to get everything to sound like a recorded orchestra.


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## tack (Dec 6, 2015)

Lawson. said:


> I've tried out demos for a bunch of reverbs, tested out different combos of positioning, dry/wet mixes, etc.


This sounds pretty good to my ears. I would take a bit of the top off the trumpet personally as I find it shriller than it should be if it were set back in a room. I ended up using a multiband compressor to tame everything past 2k. (I also did some expansion below 2k but I'm on the fence about it.)

What FX chain did you settle on?


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## Lawson. (Dec 7, 2015)

tack said:


> This sounds pretty good to my ears. I would take a bit of the top off the trumpet personally as I find it shriller than it should be if it were set back in a room. I ended up using a multiband compressor to tame everything past 2k. (I also did some expansion below 2k but I'm on the fence about it.)
> 
> What FX chain did you settle on?



Thanks! I'll try doing a bit of EQ.

I ended up putting the early reflections on 0 and distance on 35. Then, I added Proximity to push it into the back of the room, put QL Spaces (about 75% wet 25% dry EW Studio1 Decca) on to get it sounding like it was recorded in a large studio, and then added So.Cal Hall Trpt for a tail.


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## Ryan (Dec 8, 2015)

This is how my SM brass sound at the moment.


Best
Ryan


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## vicontrolu (Dec 8, 2015)

Sounds good! Do you have something with SM naked?


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## Vin (Dec 8, 2015)

Here's a naked SM example, I posted this in HeadShot's great thread as well: https://clyp.it/bthd4cfu

Downloaded the Blakus' older dry Sample Modelling audio and played around with reverb a bit. If programming is done well, it doesn't take much work to make it sound good in my opinion.


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## ModalRealist (Dec 8, 2015)

Lawson. said:


> After about 4 days of tweaking, here is my result:




Listening through my for-pleasure IEMs over a cafe breakfast, I think I'd be hard pressed to not _assume_ this was a real trumpet, at least in terms of tone/recording. The vibrato does feel a little out to me (I play trombone FWIW). I'm not sure that there's too much of it, necessarily, but that it "develops" in a slightly un-idiomatic manner.

But yes, in terms of the sound per se, I rather liked that.


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## Ryan (Dec 8, 2015)

vicontrolu said:


> Sounds good! Do you have something with SM naked?


If it was me?
Here you go: 


fyi: I added some SM woods!


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## Lawson. (Dec 15, 2015)

Trying out the horns now! I feel like it sounds a bit muffled but I'm not sure how to get it brighter. Was testing out a lot of EQ settings but nothing seemed to work. And yes, I used a little bit more tail than the trumpet demo as I was using the recording as a reference.


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## re-peat (Dec 16, 2015)

Orcel, I hope you'll allow me *to keep contradicting you* in the strongest way possible every time you advice people to compress virtual instruments. Because I really do think that is extremely bad advice, I'm sorry.

One might want to compress a percussion track a bit if it refuses to behave in a mix the way percussion is supposed to behave, or a harp glissando (not a sampled one, but a programmed one) due to the unrealistic build-up of frequencies as a result of dozens of notes sounding near simultaneously, and some pizzicato patches can also benefit from a similar treatment — in all cases I'd much prefer to use Dynamic EQ instead of plain compression though — but I see or hear absolutely no reason whatsoever to submit any of the SampleModeling instruments to compression, let alone 'strong' compression.

The only thing that will achieve, is *(a)* an unpleasantly narrow dynamic range — well-articulated dynamics are essential to musical expression and most virtual instruments are already seriously handicapped in this departement, so if you reduce their dynamic potential even further than it already is, you take away one of the few remaining means they have to communicate (because their timbre alone certainly won't cut it) —, *(b)* unnatural relationships between timbre and dynamics, and *(c)* an even more artificial and lifeless sound than what most virtual instruments are already notorious for.

Sensationally bad idea, in my opinion.

_


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## Saxer (Dec 16, 2015)

I also don't think compression is the right way. I can follow the argumentation of Orcel that a close miked instrument has more dynamic range than a far away room miked. But if you cut hi and low frequencies (what happens when moving away from mike) and add a reverb you also get a smaller dynamic range. It's a natural behaviour and happens without any compression. That's actually the reason why I always record SM instruments without any room and eq because the dynamic performing control is gone when the instrument already sits 'in the mix'. I just can feel it while playing it by wind controller. Even trumpet players can (depending on the register) play from bearly audible pp to complete orchestra overpowering fff. And they can do it from the back wall of the room. I don't see any reason to compress that away.


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## lucor (Dec 16, 2015)

Sorry, I also have to disagree on the compression part.



Orcel said:


> The most important thing with music, is to get émotion.



Yes, and one of the biggest factors, or maybe THE biggest factor to make lines really emotional are varying dynamics, which you would completely take away from the instrument when putting a 'strong' compressor on it.

It may be true that an instrument loses a bit of its dynamic range the further it is away, but it's a rather subtle difference and definitely doesn't justify strong compression IMO.
Just had a listen to an uncompressed, Decca-Tree only recording of Mars, there is still a HUGE difference in overall volume between the Trumpets playing piano vs. them playing at fff.


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## resound (Dec 16, 2015)

Orcel said:


> I am sure you know that 3db = 2 x louder.



An increase of 3db is twice as much power, not twice as much volume. It actually takes an increase of 10db for a perceived doubling of volume. 

I have to agree with the others, I think it is a bad idea to compress all of your VIs by default. You should be able to get a good mix using appropriate velocities and/or CC values in combination with good reverb settings.


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## resound (Dec 16, 2015)

I listened to your mockup of The Planets and it is obvious that you used compression because it sounds very squashed and unnatural. You are right that great engineers like Maserati use lots of compression on vocals, but that is in a pop music context. You have to squash the vocals to get them to sit on top of the mix when there are a bunch of distorted guitars, heavy synth and drums smashing under the vocal. That use of compression is standard in pop music (and that's why everything on the radio is the same volume) but it is not appropriate in orchestral music. You aren't going to mix an orchestra the same way you would mix a rock band. Unless you don't want the orchestra to sound like an orchestra.


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## hanstheman (Jul 19, 2016)

I just want to add to everything that has been said so far - 
REMEMBER to do proper stereo imaging otherwise it will not sound right! Blakus mentioned it in the videos but didn't stress the importance enough! 
I did everything as in the video but not untill I added waves s1 stereo imager and narrowed the stereo field did the samplemodeling horn start to sound right! Waves s1 also offers the possibility to rotate the stereo field, I don't know if this is any better than a normal pan/balance change. 
So my chain is :
kontakt (samplemodeling horns)
eq roll-off (hi pass), 
b2 reverb as in video, 
stereo imaging. 
Then of course a reverb send to b2 with the berlin hall duo den version. 
I'm sure it can be optimized further but stereo imaging truly did wonders. 
I also think it can make other reverbs sound acceptable.
Also I should add that you can get b2 for 50% off in case you are a student.


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## Leeward (Jul 19, 2016)

This is not related as I don't use any of the Sample Modeling brass (yet!) but I can definitely put forward an endorsement for B2 (thanks to Blakus on that one!). I love it. I send it to every instrument to varying degrees and finish everything with a Valhalla Room glue - so everything is algorithmic but I love the sound.


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## DANIELE (Jan 13, 2018)

Hi all, *while I'm trying to make SM Brass (especially horns) sounds huge*, I'm looking for a reverb to use for that purpose and for a realistic purpose.
I'd like in the future to compose like the mockup posted on the previous page, but I don't know how to achieve those results. So is finally B2 reverb the way to go?
Do you have some template or config file to share to try it with SM brass?

I have two purposes:


look at the thread linked up here;
make them sounds like a real orchestra brass to compose music like John Williams (as reference).
The real question, beside the right reverb plugin, is which settings I have to use within the SM libraries themselves. I don't know if I have to use the Virtual Soundstage page or if I have to bypass it and use only an external reverb with VSS. If I use VSS using the distance knob is useless I think.

And finally, why a High Pass filter? At what frequency do I have to cut? From what I know high frequencies are the first ones that dies going far from the source.

Thank you for your help.


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## wbacer (Jan 13, 2018)

Check out Mike Verta's class on, "Template Balancing."
He shows step my step how to get all of the orchestral sections to blend and complement each other just like in a real orchestra. There is a segment that addresses Samplemodeling Horns, Trumpets, Trombones and Tuba.
https://mikeverta.com/product/online-masterclass-template-balancing/
I applied all of Mike's suggestions in my template and it works.
*Description*
To be most useful, our virtual orchestras need to behave like real ones. With a properly balanced template, real-world orchestrations work virtually, which lends realism to our music and improves our orchestration skill. In this class, we’ll cover template balancing, and how various articulations should sound when properly dynamic (e.g., the loudest pizz strings are much quieter than bowed ones). We’ll talk about the differences between small and large groups, and look at how mixing techniques play a role in getting the proper sound and feel.


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## DANIELE (Jan 13, 2018)

wbacer said:


> Check out Mike Verta's class on, "Template Balancing."
> He shows step my step how to get all of the orchestral sections to blend and complement each other just like in a real orchestra. There is a segment that addresses Samplemodeling Horns, Trumpets, Trombones and Tuba.
> https://mikeverta.com/product/online-masterclass-template-balancing/
> I applied all of Mike's suggestions in my template and it works.
> ...



Someone already talked me about this course. In fact I want to buy it but I didn't have time to watch it so I'm waiting for a better moment.

Thank you for your advice, I hope he show SM brass settings too.

In the mean time I bought B2 because is on sale.

EDIT
why if I use Blakus settings on B2 I'm not having the same graphic results as him?

My brass sounds orrible.

If I put 1 sec for the time the up-left graph show me 0.5 sec. 

Moreover there's no Hi C SF in the menu under EQ knob.

I'm doing something wrong...


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## ZeeCount (Jan 13, 2018)

Here is the preset that Blakus shows in that video

https://www.dropbox.com/s/2oj60bad4kvf2qn/Blakus%20Brass.2ca?dl=0


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## DANIELE (Jan 14, 2018)

ZeeCount said:


> Here is the preset that Blakus shows in that video
> 
> https://www.dropbox.com/s/2oj60bad4kvf2qn/Blakus%20Brass.2ca?dl=0 (https://www.dropbox.com/s/2oj60bad4kvf2qn/Blakus Brass.2ca?dl=0)



Thank you so much. As I said earlier I have a strange problem, in the up left graph it shows 0.5 sec with a time of 1 sec. It seems it shows the half of what I set.

Here's a screenshot:


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## ZeeCount (Jan 14, 2018)

B2 does that for me to. The time knob is setting the RT60 of the reverb, which is the time it takes for the reverb tail to drop by 60 dB.


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## DANIELE (Jan 14, 2018)

ZeeCount said:


> B2 does that for me to. The time knob is setting the RT60 of the reverb, which is the time it takes for the reverb tail to drop by 60 dB.



OK, the doubt arose from the fact that in the video of Blackus the curve is seen to end at 1 sec.
In general all the graph is different, maybe he was using an older version...I don't know.

With these settings I don't have as much reverb as him, the sound is dryer. I own the expansions too and I'm using VSS too. I set up Berlin Hall for send reverb and this for insert and I'm not able to achieve that sound.


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## DANIELE (Jan 14, 2018)

Vin said:


> Here's a naked SM example, I posted this in HeadShot's great thread as well: https://clyp.it/bthd4cfu
> 
> Downloaded the Blakus' older dry Sample Modelling audio and played around with reverb a bit. If programming is done well, it doesn't take much work to make it sound good in my opinion.



How did you get this?


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