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Audiobro Modern Scoring Brass (MSB)

Guy Rowland

Senior Member
For me I've spent the last week or so when I have any spare time getting it into the template. That's been quite a lot of work because I've wanted to separate all the articulations into two different patches for each instrument - longs and shorts. That's all now done and dusted - some phenomenal number of instruments. This is where VE Pro disabled template comes into its own.

On Saturday I used it for my first piece in anger, which I'm afraid I can't yet post publicly as its for a future project. The piece already existed with CineBrass, but I wanted it to sound much more vintage, a kind of 40s / 50s war movie feel, and CB felt too glossy, with the baked in room not sounding to the right period. So I replaced all the brass with MSB, and was delighted with the results.

In a sense, no dramatic revelations as it more or less confirmed what I already knew. The library sounds fantastic, and absolutely avoids the sampled build up of too many players. It is MUCH more precise to work with - I had to adjust the midi a lot simply because CB masked all my atrotious playing, which MSB rather mercilessly exposed, and naturally there were some new key-switching and dynamics to figure out. And of course it was a breeze to add a much shorter reverb tail than I usually use. Swapped out a few more instruments in the piece so there was nothing left of the modern big sound, put it through all the vintage effects and job done.

I also used it on a collab piece yesterday, but it was predominately strings and there was only a couple of brass parts so hardly serves as a showcase. Horns sounded wonderful, but the solo trumpet didn't suit this one as it had to be very mellow and emotive. As I so often do with that requirement, I went right back to the 1.0 Core Solo Trumpet CB patch.
 
For me I've spent the last week or so when I have any spare time getting it into the template. That's been quite a lot of work because I've wanted to separate all the articulations into two different patches for each instrument - longs and shorts. That's all now done and dusted - some phenomenal number of instruments. This is where VE Pro disabled template comes into its own.

On Saturday I used it for my first piece in anger, which I'm afraid I can't yet post publicly as its for a future project. The piece already existed with CineBrass, but I wanted it to sound much more vintage, a kind of 40s / 50s war movie feel, and CB felt too glossy, with the baked in room not sounding to the right period. So I replaced all the brass with MSB, and was delighted with the results.

In a sense, no dramatic revelations as it more or less confirmed what I already knew. The library sounds fantastic, and absolutely avoids the sampled build up of too many players. It is MUCH more precise to work with - I had to adjust the midi a lot simply because CB masked all my atrotious playing, which MSB rather mercilessly exposed, and naturally there were some new key-switching and dynamics to figure out. And of course it was a breeze to add a much shorter reverb tail than I usually use. Swapped out a few more instruments in the piece so there was nothing left of the modern big sound, put it through all the vintage effects and job done.

I also used it on a collab piece yesterday, but it was predominately strings and there was only a couple of brass parts so hardly serves as a showcase. Horns sounded wonderful, but the solo trumpet didn't suit this one as it had to be very mellow and emotive. As I so often do with that requirement, I went right back to the 1.0 Core Solo Trumpet CB patch.
Surely this wasn't your "first piece in anger"!
 

Mucusman

Enthusiastic hobbyist
I took the plunge and purchased MSB.

It is a beast. Not only are there many instruments, and the inclusion of the "Intuition Series" instruments (which are delightful to play and sound great), but basically every single element/setting is configurable.

I've started working my way through the manual and trying out each feature/function... there is a LOT in here.

I'm providing two quick samples of elements I don't recall being presented thus far.

First, here is a comparison on a trumpets tutti line using different legato speed settings (slow, medium -- this is the default, and fast... in that order):


Second, for fun, here is what it sounds like using trumpet trills while activating the detuning knob. Getting this involves all of two buttons. There aren't just trills (and two types: whole tone and half tone), but different lengths of trills (short, medium, long, and loop). In the brief sample below I believe all are demonstrated except the medium trills). Again, all with detune activated at about 40% strength:


The amount of control and flexibility available is staggering. In short, this is a library that I'll grow into.
 

soulofsound

New Member

Second, for fun, here is what it sounds like using trumpet trills while activating the detuning knob. Getting this involves all of two buttons. There aren't just trills (and two types: whole tone and half tone), but different lengths of trills (short, medium, long, and loop). In the brief sample below I believe all are demonstrated except the medium trills). Again, all with detune activated at about 40% strength:


The amount of control and flexibility available is staggering. In short, this is a library that I'll grow into.
Using detune is actually a very good way to induce more realism in this sample library. MSB takes it really well, i think. The Intuition instruments do, too. Nice examples.
 

LHall

Active Member
I will be getting MSB in the next few days. Huge fan/user of LASS since it came out.

I'm curious if any of the current owners have tried using a breath controller yet? I love using it for all the brass and wind instruments I do. Hoping it's intuitive for MSB.
 

Mucusman

Enthusiastic hobbyist
Mucusman, this was very interesting. Would you consider doing that same "legato speed test" with some of the other instrument sections or solos?
Here you go.

First is a solo flugelhorn. Four times (same performance each time): 1st time: legato speed dial at 50% (I played it at this setting), 2nd time at fastest (100%), 3rd time at slowest (0%), and the 4th time I manually edited the legato speed (picture below). You can hear, in the slowest example (3rd), that it is too slow for the faster transitions. What I'm learning is how subtle adjustments in this setting alone help in making a performance that much more lifelike and musical.




Final two examples are from the trombones. First are two trombones, the second file is of a solo trombone. The legato settings in each go from (1) slowest, (2) medium, and (3) fastest, to finally a manually edited section using all three speeds, to my taste.


And the solo trombone. Note, this is the exact same MIDI performance; I made no edits in the content from the two trombone file. More of a comparison of tone.


I left all the warts in, to help demonstrate where things can go wrong. All effects and other MSB settings are at their default. No external or additional processing or effects. Effectively, this is out of the box sound. I didn't adjust any of the starting attacks... which would be an additional element towards realism. But this shows me the value to slowly understanding how each of these variables affect the sound.

Hope this is helpful.
 
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artinro

Active Member
Here you go.

First is a solo flugelhorn. Four times (same performance each time): 1st time: legato speed dial at 50% (I played it at this setting), 2nd time at fastest (100%), 3rd time at slowest (0%), and the 4th time I manually edited the legato speed (picture below). You can hear, in the slowest example (3rd), that it is too slow for the faster transitions. What I'm learning is how subtle adjustments in this setting alone help in making a performance that much more lifelike and musical.




Final two examples are from the trombones. First are two trombones, the second file is of a solo trombone. The legato settings in each go from (1) slowest, (2) medium, and (3) fastest, to finally a manually edited section using all three speeds, to my taste.


And the solo trombone. Note, this is the exact same MIDI performance; I made no edits in the content from the two trombone file. More of a comparison of tone.


I left all the warts in, to help demonstrate where things can go wrong. All effects and other MSB settings are at their default. No external or additional processing or effects. Effectively, this is out of the box sound. I didn't adjust any of the starting attacks... which would be an additional element towards realism. But this shows me the value to slowly understanding how each of these variables affect the sound.

Hope this is helpful.
You’re a true gentleman. Many thanks for doing this. Helpful indeed.
 

Nicola74

Member
I will be getting MSB in the next few days. Huge fan/user of LASS since it came out.

I'm curious if any of the current owners have tried using a breath controller yet? I love using it for all the brass and wind instruments I do. Hoping it's intuitive for MSB.
I tried using a breath controller with MSB for five minutes because I didn't have enough time, but it worked pretty well. I use breath controller for mostly everything, so for me this is one of the most important aspect :)
 

Mucusman

Enthusiastic hobbyist
One more sample, and I'll call it a day. Here is a very brief "context" cue I put together, featuring horns, tubas, piccolo trumpet, and cimbasso. These are joined by Audiobro's Genesis Children's Choir (my first Audiobro library) and some light strings from Spitfire's Albion V.


I will also add that the Intuition instruments, not featured above, which I imagine cousins to sample modeling instruments, are really great and a blast to play. When I play them I feel like somehow I am getting hundreds of dollars in other brass instruments for free, as I wasn't expecting them to be part of the package.
 

Mucusman

Enthusiastic hobbyist
That's the thing about almost all of the comparison videos I've seen over the last couple of years that have someone pitting 2+ libraries "against" each other. Because getting the best performance out of each library involves different means; simply plugging, playing, and comparing rarely gives results that demonstrate what a library is truly capable of. So, such efforts usually only compare how each library sounds in one narrow set of specific conditions.

But I get it. Almost always, we're asked to buy on faith and spend significant amount of money on a tool that we personally cannot test before purchasing. So we look at demos and comparisons hoping to gain information that will enable us to make a wise choice. There doesn't seem to be any silver bullet to ensuring that one will make a great choice. The closest I've come to is discerning which developers tend to deliver the goods. But that's still not 100% reliable, and there are so many other variables that I've used to weigh whether I should go with choice A, B, C, D, or E (etc.).
 

Suntower

New Member
I gotta vent a little. I bought LASS several years ago because I wanted something -bigger- than VSL
Strings. I thought the price was too good to be true because from the demos it has a -totally- epic sound. The demos really -are- gorgeous. But the UI is soooooooooooooooooooooooo UNBELIEVABLY CLUNKY it's RIDONCULOUS... It's just -painful- to make real music.

I used to think VSL was sooooooooooooooooooooo over-priced. I used to think they were soooooooooooooooooo arrogant. But basically, almost every other developer seems to SKIMP in -some- way or other. Either on the sample quality, the articulations or the UI to tie it together so that you can actually make human-sounding music. VSL makes the Rolls Royce experience and that's why they get away with such extortionate prices. OK, I'm done.

I -love- the MSB demos. Those Cimbassos are the sound of an Opera orchestra. After you hear it, the gap in other brass libs between t-bones and tuba sounds pathetic by comparison. And I am encouraged by the new 'engine' AudioBro has on offer. But I want to hear people talk about HOW MUCH EASIER IT IS IN DAY TO DAY USE. Because A.R.T. can be a nightmare. Or.... I'm just super thick... which is entirely possible... and never 'got it'.
 
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