Solo Brass
cant achive a realistic solo FHorn sound like...

gents
any tips on how to setup a good sounding mellow solo FHorn sound?
My going sound would be like example #4 on this website, which is like my sample library would sound like as well.
https://www.samplemodeling.com/en/demos_horntuba.php
I have no idea why SWAM is sounding so different here

gents any tips on how to setup a good sounding mellow solo FHorn sound? My going sound would be like example #4 on this website, which is like my sample library would sound like as well. https://www.samplemodeling.com/en/demos_horntuba.php I have no idea why SWAM is sounding so different here

I feel the same. The SWAM French Horns sound very average right across the board. They sound more like a bland trombone than French Horns. I much prefer the Sample Modeling horns.

I feel the same. The SWAM French Horns sound very average right across the board. They sound more like a bland trombone than French Horns. I much prefer the Sample Modeling horns.

I am currently playing with all of their brass instruments, here are three demos so far (played live with TEControl, I have no Idea why youtube introduced the audio glitches, they are not present in the mp3 files.) https://www.youtube.com/playlist?list=PLBws7Px0QJCVmKtN39hmB0l2Y-ReMrnFw

For the Princess Leia test (the latest of my FH tests) I used two EQs, on of them has these settings:
5e6f3b4faaf45

  • The extreme cuts are needed since there is a very prominent first overtone which results in an unpleasant "boxy" sound when combined with reverb and ER modeling. I commented on their brass release thread with a list of potential changes. You can listen to the no-EQ demo, it is linked in the youtube playlist.
I am currently playing with all of their brass instruments, here are three demos so far (played live with TEControl, I have no Idea why youtube introduced the audio glitches, they are not present in the mp3 files.) https://www.youtube.com/playlist?list=PLBws7Px0QJCVmKtN39hmB0l2Y-ReMrnFw For the Princess Leia test (the latest of my FH tests) I used two EQs, on of them has these settings: ![5e6f3b4faaf45](serve/attachment&path=5e6f3b4faaf45) - - The extreme cuts are needed since there is a very prominent first overtone which results in an unpleasant "boxy" sound when combined with reverb and ER modeling. I commented on their brass release thread with a list of potential changes. You can listen to the no-EQ demo, it is linked in the youtube playlist.
edited Mar 16 at 9:55 am

The Clarinet is just great !
But with the Horn, the trumpet and the Strings, I in fact like the SM Kontakt libraries (whoch I do have) better.
-Michael

The Clarinet is just great ! But with the Horn, the trumpet and the Strings, I in fact like the SM Kontakt libraries (whoch I do have) better. -Michael

I share your opinion regarding the horn.
For the trumpet and solo strings however I see good use for both AM and SM. The SM Strings have a more natural timbre for legato playing but lack the expressive possibilities found in the AM Strings. Also short notes on SM Strings are not so great, it appears to me that there is some lack of round-robin-ish behaviour. Examples of AM expressions that surpass SM Strings in my opinion: Sul Pont, Sul Tasto, Harmonics 1st and 2nd, spiccato, staccato on bow, detache with different attacks, precise control over portamento or tremolo speed or finger position AND the combination of any of these techniques. This all does not shine through if I need extended and slow legato passages though. Hence I would love to see some more work being done on the timbre of the strings!

I share your opinion regarding the horn. For the trumpet and solo strings however I see good use for both AM and SM. The SM Strings have a more natural timbre for legato playing but lack the expressive possibilities found in the AM Strings. Also short notes on SM Strings are not so great, it appears to me that there is some lack of round-robin-ish behaviour. Examples of AM expressions that surpass SM Strings in my opinion: Sul Pont, Sul Tasto, Harmonics 1st and 2nd, spiccato, staccato on bow, detache with different attacks, precise control over portamento or tremolo speed or finger position AND the combination of any of these techniques. This all does not shine through if I need extended and slow legato passages though. Hence I would love to see some more work being done on the timbre of the strings!

I do have the SWAM Cello. It's great fun to use it's scratching / screeching sound in certain settings smile The SM Cello cn't do that.
-Michael

I do have the SWAM Cello. It's great fun to use it's scratching / screeching sound in certain settings :) The SM Cello cn't do that. -Michael

@hlangebrake thanks for the PRINCESS LEIA take. Its come close. Is there a way to reduce the attack? A bit smoother? The tip with the EQ is good. It comes quite nasal without. Thanks for the work.

@hlangebrake thanks for the PRINCESS LEIA take. Its come close. Is there a way to reduce the attack? A bit smoother? The tip with the EQ is good. It comes quite nasal without. Thanks for the work.

to everybody else taking part in this thread. PLEASE, I am just focusing on the FHorn here. The rest is awesome without any doubt and is out of discussion. I am just curious about the FHorn which kind of drops out of the whole series.

to everybody else taking part in this thread. PLEASE, I am just focusing on the FHorn here. The rest is awesome without any doubt and is out of discussion. I am just curious about the FHorn which kind of drops out of the whole series.

Yes, you are able to smooth the attacks via velocity or by acceleration of breath pressure (if enabled). But only to an extend. As I posted in the release thread, if there is a slider that goes to "0" I'd love there to really be 0 of said sound aspect. Especially when starting to shape the sound with a mutliband compressor, I need more control over the breath and attack sounds than currently offered. (I use compression in the lower mids for a more round tone on quiet passages, unfortunately that will also raise the sound of breath noise rumbles and pp attacks.)

Yes, you are able to smooth the attacks via velocity or by acceleration of breath pressure (if enabled). But only to an extend. As I posted in the release thread, if there is a slider that goes to "0" I'd love there to really be 0 of said sound aspect. Especially when starting to shape the sound with a mutliband compressor, I need more control over the breath and attack sounds than currently offered. (I use compression in the lower mids for a more round tone on quiet passages, unfortunately that will also raise the sound of breath noise rumbles and pp attacks.)

If you are interested, I experimented a little more with AM Horns and tried my hands on ensemble mixing. You asked for a more rounded tone and I have been able to set up the following mixing chain:

  1. EQ as stated above. First overtone needs to be tamed aswell as any below 200Hz frequencies.
  2. Multiband compress the "common fundamental" range for your desired register and boost it's level (for example 300-500Hz) such that when playing lower dynamics, the fundamental is audible well, but it will get quieter relatively when playing loud.
  3. This is the improtant part. Multiband expand the upper frequencies, such that the "biting" sound kicks in later. AM decided to blend the higher frequencies in at an early dynamic range which results in a fuzzy and less rounded tone.
  4. Do your ER and reverb procedure, touch everything up with EQ.

These steps resulted in the following sound for ensemble french horns which comes closer to a sound I could use in orchestral contexts:
https://www.youtube.com/watch?v=i0j0Pvdpv9Q

If you are interested, I experimented a little more with AM Horns and tried my hands on ensemble mixing. You asked for a more rounded tone and I have been able to set up the following mixing chain: 1. EQ as stated above. First overtone needs to be tamed aswell as any below 200Hz frequencies. 2. Multiband compress the "common fundamental" range for your desired register and boost it's level (for example 300-500Hz) such that when playing lower dynamics, the fundamental is audible well, but it will get quieter relatively when playing loud. 3. This is the improtant part. Multiband expand the upper frequencies, such that the "biting" sound kicks in later. AM decided to blend the higher frequencies in at an early dynamic range which results in a fuzzy and less rounded tone. 4. Do your ER and reverb procedure, touch everything up with EQ. These steps resulted in the following sound for ensemble french horns which comes closer to a sound I could use in orchestral contexts: https://www.youtube.com/watch?v=i0j0Pvdpv9Q

Hi everybody, we have improved the sound and behavior, especially for French Horns. The version 1.1.0 will be released in month or so.

In the meanwhile, I can provide a few suggestions:

1- "Hand Mute" should be selected by default. Act on "Mute Control" to set the hand all the way inside the bell (i.e. Mute Control all the way left)

2- Under "Effects" increase the "Bell Direction" parameter, act on EQ, increase Early Reflection

3- Under "Timbre", act on "Dynamic Sens." to adjust the dynamic response in relation to the input expression and velocity

4- For French Horns and lower instruments use rarely high values of note-on velocity

Best!

Hi everybody, we have improved the sound and behavior, especially for French Horns. The version 1.1.0 will be released in month or so. In the meanwhile, I can provide a few suggestions: 1- "Hand Mute" should be selected by default. Act on "Mute Control" to set the hand all the way inside the bell (i.e. Mute Control all the way left) 2- Under "Effects" increase the "Bell Direction" parameter, act on EQ, increase Early Reflection 3- Under "Timbre", act on "Dynamic Sens." to adjust the dynamic response in relation to the input expression and velocity 4- For French Horns and lower instruments use rarely high values of note-on velocity Best!
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