I came across this some time ago this is the sax, but you can get the idea of feel and expression, and realisem from this sample modeling vst Instrument
Gives an idea of how far samples can be pushed.
Thanks for that link. I'm about to pull the trigger on SWAM Saxophones by Audio Modeling and I had some residual fears that I was springing for the wrong product. This resolved it.This is not Samplemodeling, this is the SWAM engine by Audio Modeling.
I think there is a lot of confusion about Samplemodeling vs Audio Modeling vs SWAM. This FAQ by Audio Modeling clarifies everything: https://www.swamengine.com/support/kb/faq.php?id=43
Dear Friends,
let me chime in here, since the topic of the "epic sound" vs. our brass comes back from time to time .
You certainly agree that a big, bombastic brass sound depends also very much on how the score is written and played. The fullest brass sound is certainly not the sound achieved by playing just maximum fortissimo. Any close mic´ed brass instrument, if played ff, will have a "thinner" sound than if playing just forte or even mf. That´s completely normal. Especially if it´s dry. A well done orchestration/voicing, plus the right articulation and a suitable amount of the appropriate ambience will in most cases do the trick. And our instruments will simply follow what the player wants . For example:
or
You might agree that the brass in these examples (as well as in other relevant examples on our demo pages) does not sound "thin", does it?
There is also a phenomenon of the playing fatigue, or rather the lack of it. Playing the highest dynamics on our instruments does not require any particular effort, as it does in case of real instruments. Consequently, many MIDI performances may tend a bit toward a thinner ff sound, because it´s so easy to get there... Just a hypothesis. I would like to encourage interested users to experiment a lot with the orchestration/voicing and ambience, and to analyze some very well known scores/examples, to find out more about the impact of the orchestration on sound. This is quite important in case of our brass, because it plays what the user wants, not what has been sampled.
Thank you for your attention
Peter
Dear Friends,
let me chime in here, since the topic of the "epic sound" vs. our brass comes back from time to time .
You certainly agree that a big, bombastic brass sound depends also very much on how the score is written and played. The fullest brass sound is certainly not the sound achieved by playing just maximum fortissimo. Any close mic´ed brass instrument, if played ff, will have a "thinner" sound than if playing just forte or even mf. That´s completely normal. Especially if it´s dry. A well done orchestration/voicing, plus the right articulation and a suitable amount of the appropriate ambience will in most cases do the trick. And our instruments will simply follow what the player wants . For example:
or
You might agree that the brass in these examples (as well as in other relevant examples on our demo pages) does not sound "thin", does it?
There is also a phenomenon of the playing fatigue, or rather the lack of it. Playing the highest dynamics on our instruments does not require any particular effort, as it does in case of real instruments. Consequently, many MIDI performances may tend a bit toward a thinner ff sound, because it´s so easy to get there... Just a hypothesis. I would like to encourage interested users to experiment a lot with the orchestration/voicing and ambience, and to analyze some very well known scores/examples, to find out more about the impact of the orchestration on sound. This is quite important in case of our brass, because it plays what the user wants, not what has been sampled.
Thank you for your attention
Peter
Oh lemme chime in here .Two good examples where sm shines, but how is that achieved. Besides these 2 examples I didn´t heard any other example of convincing sample modeling which were near like that 2 examples. Both of those examples require a shitload of post production, experience and much more what most of the folks here are not knowing how to do so. This library for such a context is "find it out yourself" which is incredibly time consuming and incredibly hard to achieve. Actually besides those 2 examples I never heard a convincing sm orchestral track in such vibrant energetic context music. Some users achieved quite "ok" results but nothing near like that. But I think many orchestral users would like to know how get the most sound out of such product when they buy it ecspecially because sm is ass dry and you just can´t dial in an ambient micing and there you are. No, So you have to create step by step this believable space and therein I see the problem: It is extremely hard and I am not sure if that worth the time as well. I think Sm is good for soloing and all that Jazz and big band stuff though.
This is not Samplemodeling, this is the SWAM engine by Audio Modeling.
I think there is a lot of confusion about Samplemodeling vs Audio Modeling vs SWAM. This FAQ by Audio Modeling clarifies everything: https://www.swamengine.com/support/kb/faq.php?id=43
My thoughts exactly. I've listened to those tracks by SampleControl many times before, and I have still yet to find *any* other SM brass examples that even come close to that sound. There is some real post-production magic going on there, as well as great orchestration. However, for 99.9% of media composers, they will never be able to achieve a sound like that with only SM brass without serious knowledge of post production, an ample amount of effects, and a golden ear. There are even videos on SampleControl's Youtube page showing how SM mixes with Altiverb well, yet no one but SampleControl has ever come close to those Star Wars videos.
If someone can show me any other example of SM brass sounding that beautiful and alive in an orchestral context, I'd love to hear it. But right now, that sound is pretty much mythical for anyone jumping into these samples.
it lets people believe that if they buy the product then they can make this sound happen, in theory yes. But most of the stuff I hear from users using sm brass for such context sound harsh with a fake space and utterly gross. But not because the people suck, no but because I believe that it seems to be insanely hard work with sm brass on post production.
I don't believe that spatializing a dry source is nearly as hard as everyone here keeps complaining. There are many, many resources on the internet for successfully doing so.
Comments on this video also recommend using a convolution reverb rather than algorithmic. The video itself essentially suggests only using the wet signal from the reverb. You could also try using something like MIR. There are other ways of trying to spatialize it, but this video is from the same source as the Star Wars theme.
The creator of the Star Wars mockup mentions they used EQ and Altiverb - two effects, which are not nearly as much as the 'ample amount of effects' someone claimed you need.
The rest is articulation & dynamics, which the Samplemodeling guy touched on.
Exactly Novaburst. I use SM/AM every day. Yes, it takes a little work - not as much now that I kind of have my template down. But the work is worth it. I totally disagree that no one else than SampleControl has ever made SM Brass sound great. Rather insulting actually. Speaking for those of us who have spent a lifetime working, studying, learning, crafting, practicing - I'm glad that there are still some things out there that require some work and thought. Too many want instant pro results these days without putting in the work. That's why there's so much really really bad music out there.
Please link me or point me to the direction of an orchestral piece, using only SM brass, that sounds as good as the SampleControl videos. There may very well be others out there, but I haven't heard them.
The fullest brass sound is certainly not the sound achieved by playing just maximum fortissimo. Any close mic´ed brass instrument, if played ff, will have a "thinner" sound than if playing just forte or even mf. That´s completely normal. Especially if it´s dry. A well done orchestration/voicing, plus the right articulation and a suitable amount of the appropriate ambience
would like to encourage interested users to experiment a lot with the orchestration/voicing and ambience, and to analyze some very well known scores/examples, to find out more about the impact of the orchestration on sound. This is quite important in case of our brass, because it plays what the user wants, not what has been sampled.
Exactly Novaburst. I use SM/AM every day. Yes, it takes a little work - not as much now that I kind of have my template down. But the work is worth it. I totally disagree that no one else than SampleControl has ever made SM Brass sound great. Rather insulting actually. Speaking for those of us who have spent a lifetime working, studying, learning, crafting, practicing - I'm glad that there are still some things out there that require some work and thought. Too many want instant pro results these days without putting in the work. That's why there's so much really really bad music out there.