KVR Audio

ianweb123 · Post by **ianweb123** » Sat Jan 28, 2006 5:41 pm

This was a little something done with b2..

Its a shame that non-aftertouch keyboards are not able to use velocity control instead.. I was hoping to get more expression into this one..

Trumpet Voluntary

Jafo · Post by **Jafo** » Sat Jan 28, 2006 5:54 pm

B3 seems to respond more than B2, but by the same token, it's easier to get overly splatty sounds from B3. More later when I can test it more thoroughly (with my non-aftertouch-enabled keyboard, alas

).

jcn7 · Post by **jcn7** » Sat Jan 28, 2006 7:55 pm

Hi Guido, I've just tried b3 of Mile's Tone...Thank you so very much for adding aftertouch control of vibrato! I find that b2 is brighter in tone (which to me sounds more realistic) and has more volume (louder). I like the air noise better in b3, but still find b2's tone and volume better IMHO...others may differ. Maybe keep both as differnt models in the same package...a bight and a dark trumpet...just like you already have an unmuted trumpet as well as a muted trumpet. This would give us "options of how our horn will sound. I also agee with someone else's comments about adding other mute options...harmon mute, toilet plunger wa wa, etc... Also I still think adding portamento is a must! With portamento, one can "slide" or "gliss" into notes of your choosing in the upper ranges just like a lead trumpet player will do. Please consider. Again, fantastic PM! If you are willing and able to make other brass and woodwinds, you will single handedly beat Yamaha and their VL technology as well as everybody else's PM's... How do you do it? You are amazing!!! Keep up the great work!

clueless · Post by **clueless** » Sat Jan 28, 2006 8:17 pm

I've not tried this yet. But my first exposure to it was xoxos' "the record", and it made me...

jcn7 wrote:How do you do it?

that's what I want to know!

jcn7 wrote:You are amazing!!! Keep up the great work!

seconded

Tony Ostinato · Post by **Tony Ostinato** » Sun Jan 29, 2006 12:13 am

I was actually talking about this plug with one of maynards lead trumpeteres, larry foyen, the other night and we both had a good laugh about portamento. theres NO portamento on a trumpet, if you wanna gliss up to high notes, like i did in my demos, just run up all the notes really fast, same as on a trumpet.

portamento would sound comical if not worse.

guido is welcome to add it, as an option, if he wants but its not needed and ill bet wont sound right.

ianweb123 · Post by **ianweb123** » Sun Jan 29, 2006 1:35 am

Yes.. but useful for those comedy trombone moments that we all need now and again

Gregjazz · Post by **Gregjazz** » Sun Jan 29, 2006 1:45 am

Little demo I made:

http://www.gregjazz.com/upload/milesjazz.mp3

Pretty cool VSTi!

xoxos · Post by **xoxos** » Sun Jan 29, 2006 3:31 am

having not played trumpet (apart from didges) in the last 30 years, i can only suggest that the tone in tubes is created by resonance between the pressure of air escaping from one end (which reflects some waves back up the tube, creating oscillation) and reflected waves at the mouthpiece end, affected by eg. lip vibration...

..so you get sort of a pitch dip effect when there is energy loss in the oscillation.. a drop in tonal brightness, and since this model is ~a 'simplified'/ideal mathematical model of the physics, it produces the same behaviour.. glisses, and the 'growly' quality of dropping resonance between discrete pitch/resonant steps.. :p

..and i added another hiphop track to my soundclick.com/thehypocrite page.. 'arrangement.' uses 3 instances with ~no automation.. because that's the way i like it; nice and flat, like a 'perfect' performance.. imo it sounds bloody fantastic.

thank you thank you thank you guido

daGuru · Post by **daGuru** » Sun Jan 29, 2006 4:38 am

Gregjazz wrote:Little demo I made:

http://www.gregjazz.com/upload/milesjazz.mp3

Pretty cool VSTi!

One word... smoooooooothhhh

(and I HATE 99% of modern jazz

I'm a trad. jazz kinda guy)

jcn7 · Post by **jcn7** » Sun Jan 29, 2006 7:01 am

Hi Tony, yes I agree that there is no portamento on a trumpet, however, in making a realistic virtual lead, I have always found a little fingered portamento in the high range (I am typically using a Yamaha VL, or Korg Oasys PM) works wonders for recreating a more convincing lead line...IMHO. It's interesting that Yamaha DID include this feature on their VL series...although, I realize that this is probably more important for most when used on the synth emulations. As you mentioned Guido is free to add or not add this function...I think the model is better to have this included as a user option.

jcn7 · Post by **jcn7** » Sun Jan 29, 2006 7:12 am

By the way, when I mention portamento, I'm referring to "fingered portamento" meaning the user can control portamento being activated by the way he or she plays the notes...like the VL series and also utilized on many other synths. I'm not referring to having portamento on all the time. Also, I'm not referring to using alot, but rather just a little.

egbert · Post by **egbert** » Sun Jan 29, 2006 7:26 am

Tony Ostinato wrote:theres NO portamento on a trumpet, if you wanna gliss up to high notes, like i did in my demos, just run up all the notes really fast, same as on a trumpet.

There are two kinds of "portmanteau" effects that trumpeters - mostly not legit ones - use in the upper registers. One is simply a lip slur where you shoot up the octave (say) through the intervening harmonics. If you have the high range there are 8 steps between (for example) top A and double top A. Same goes for falling off those high notes - the sag off a super C can go down through up to 20 steps (depends on what fingering you use). In these examples the continuous tone bends between the harmonics to some degree - they aren't completely discrete steps.

Another one is where you can grab a half-valve fingering - eg valves 1 and 2 half way down and play a note which starts low and seems to ride a 2 octave gliss all the way up to some high note. The rising pitch is totally smooth with no discernable steps. I have seen Wynton Marsalis do this in concert have conversed with a trumpeter who did this on stage in a club a few feet from me - I asked him how he did it after the set and he said he does it just with lip tension and air control but no change in fingering. Not a feat I have emulated believe me but it is definitely something the pyrotechnicians have in their box of tricks.

Tony Ostinato · Post by **Tony Ostinato** » Sun Jan 29, 2006 8:42 am

ahh but if you analyse those half valve glissandos closely yoully see they are in fact not totally smooth with no discerable steps, theres alwats emphasis and de-emphasis on the notches and during a gliss the tone is also greatly affected, hes welcome to model that but portamento isnt the way, itll only make it sound like an obvious synth.

SRF · Post by **SRF** » Sun Jan 29, 2006 8:45 am

daGuru wrote:
Gregjazz wrote:Little demo I made:

http://www.gregjazz.com/upload/milesjazz.mp3

Pretty cool VSTi!
One word... smoooooooothhhh

(and I HATE 99% of modern jazz I'm a trad. jazz kinda guy)

Another word: brilliant. That's a breath controller in action, right? I want one! But I still can't figure out even how to get my mod wheel to apply vibrato in FL Studio.

This plug is outrageous. I'm no trumpet player, but to my ears that sounds incredibly "realistic". And if there are slight differences to the real thing that an expert can discern, I don't think they matter at all. It still sounds great.

SRF · Post by **SRF** » Sun Jan 29, 2006 8:47 am

... Mind you, I bet Arturia are choking on their cornflakes it they're also listening to it right now. Is Brass really any better than that?

Miles'tone VST trumpet - Official Release