SWAM Solo Brass v1.0.0 is available for download on the Customer Portal https://my.audiomodeling.com

Be sure you have registered your License Key or your Redeem code to your account.

Wow, the new SWAM 3 GUI is going to take some getting used to! Some really nice new performance parameters here, though.

Quick question: some of the instruments don't have any presets i.e. they only have a single "init" default. Are there plans to add additional presets to those instruments (e.g. Horns, bass trombone etc) or is it envisaged that no additional stylistic presets are necessary?

I was pleasantly surprised to see some jazz presets for trumpet and tenor trombone Nice work, guys.

How exciting! I just downloaded and tried the Trumpets so far
I was also looking for the external device presets too, I sometimes use a breath controller but mostly a Roli keyboard and I love using the 'reset to default SeaBoard' expressions which I use every single time I start up any of my other SWAM instruments

With it missing I am having trouble mapping to the Roli keyboard. I tried loading a seaboard preset from the older instruments but it didn't work.

I was able to map the AT and the slide up and down the keys but I can't figure out how to map the sideways pitch bend motion when you wiggle the roli keys. Any advice on mapping a Roli seaboard?

@nicolaig please have a look at the User Manual available on the Customer Portal and also at https://audiomodeling.com/manuals

Briefly: we have provided several "Quick Reset" presets in the Controller Mapping summary page:

As for the Seaboard, be aware, there is a known issue (and a workaround) that we will fix in the next release:

MPE MIDI profile: pitch-bend not working after a retriggered note, i.e. when releasing a note while the previous was held. Workaround: use your MPE controller in Single Channel mode, and set “Legacy” MIDI Profile on SWAM.

All Known Issues are listed on the last page of the User Manual.

Ah, that is absolutely perfect thank you!!
I had searched the manual (for Roli) but nothing showed up.

Thanks for that screenshot, I must say it was very difficult to find that panel.

For anyone struggling like me to get to this screen, click on "summary" towards the top right to reveal these settings

Great release! I have a lot of fun playing it. Here is a early list of suggestions on what to improve in next versions:

1. Please let us map more parameters like Reactivity and Dynamic Sensitivity. I get it - these parameters do not change with real instruments. However, since for example Dynamic Sens. is important for cuivre effects and I don't always want that sound in a single performance, it seems necessary to be mapable.
2. The French Horn in Fs first overtone is too loud. I need drastic EQ to fix the "boxy sound" and an EQ can only fix it for one register. Ideal would be a filter to let me change single overtones to my liking (similar to the approach Sample Modeling has taken).
3. When I set the breath noise slider to 0, please let there be no more breath sound. It is still audible. When mixing your wonderful instruments in an orchestral setting, I should not be able to hear the detailed breath of the brass (which I do, when playing piano. The hiss greatly reduces the rounded quality of piano French Horns for example. The lip-attack noise "p" should also not be audible when set to 0). This also holds true for your woodwinds. Wonderful instruments, but the breath noise needs to be controllable from absolutely inaudible as a starting point, because when trying to make them sound brighter with multiband compression etc., every breath noise becomes an artifact (also the key noises. 0 key noise slider means I don't want it). It would be GREAT if there was an option to route Breath, Keyclicks and Sound all to different outputs.
4. After looking through plugin and manual, I do not find any way to re-map the velocity. Please add a velocity mapper, or even better, let me map the attack sensitivity to velocities and legato sensitivity seperatly (I usually find myself needing high legato velocities and low attack velocities)
5. The anti-phasing for ensembles does not yield good results. Ensembles with your all of your instruments are hard to pull off. I am unfortunately not sure what to suggest in this regard, because I have no Idea what mathematical models you use and how or if you randomize certain parameters. I guess this is pretty tough to get right and I am curious what you do with the ensemble instruments.
6. With strings and winds, there is a drastic difference between different versions of one instrument. The brass has anti phasing options, but they do not differ timbrewise as much as the strings do. Maybe we can get more variation with different versions?

I am looking forward to the future of your instruments. The playability and authentic expressiveness is not matched by any sampled instrument I own.