Here\'s a quick \"newsflash\" about our upcoming SAM Horns.
We\'ll be recording in June, we now had our first meetings with the players and tried out some things, and it sounds promising so far.
Here\'s the deal:
We\'ll be recording 4 horns in unison + some extra solo horn stuff. The room (a hall) will be partly in the sample, but we\'ll record multitrack, so there\'s still ambience freedom AFTER the recordings.
The samplelist (don\'t nail us on this!)
--- NORMAL, 7 samples/octave, 3 vels ---
b. PORTATO (meaning a more expressive long note like the Vitous portatos)
c. MARCATO LONG (accented, bold note with fast decrescendo, theme building stuff)
d. MARCATO SHORT (short accented, bold note, theme building stuff)
e. STACCATO (3x)
--- EFFECT, 4 samples/octave, 1 vel ---
f. GLISS OCTAVE
g. GLISS 3rd (minor 3rd)
h. SWELL 1 (pp > ff)
i. SWELL 2 (pp > ff, fluttertongue)
--- INTERVALS, 2 x 3 samples/octave, 2 vels ---
j. Note to note natural glissandi, tonica to 3rd, tonica to 5th and tonica to octave. So no effect, but normal note after note, molto legato, with the natural hornish \"glissando\".
--- SFX ---
k. Clusters and your other SFX stuff, including player breathing, valve clicks, chairs and ambience [img]images/icons/wink.gif[/img]
We\'re thiking of using Melodyne software to extend the usability of what we\'ll really sample above. Think about creating all possible (chromatic) intervals for (j.) or make faster and slower (realistically timestretched) note lengths. We think there\'s lots of possibilites to explore here!
Here is my advice Maarten, everyone more than likely has quiet horns already...so make these as passionate and powerful as you possibly can!
The fx are nice and I\'m sure are very useful but you should put your main efforts into the normal sustains and staccato. Do 2 staccatos; one with a \'bah\' and one with a \'wah\', sort of like up and down strokes. Does this make sense?
The \'bah\' has an instant attack but the \'wah\' is like an instant crescendo from mp to FFFF. I think this will make for very realistic staccato passages.
This is just my 2 cents \'cos I\'m mad on brass. [img]images/icons/smile.gif[/img] How much will this library be?
Very interesting. Maarten, no plans for crossfadable stuff (if it sounds good)? I would love to be able to control swells, starting out at ff, then quickly going to p, then slowly towards f - used a lot in Williams and other peoples scores Maybe some of this could be done using a simple LPF like in Quantum Leap Brass on the trombones. Not sure.
Anyway, I wish you would do long sustains with a harder attack too. ff attacks with the rest of the note being mf or thereabout.
I am brass nutz myself and having used Sams Trumpets extensively, I owe Maarten Spruijt a sale on his horns when they come out: I am sold on them already! No horn collection can do all what I dream of doing (yet!), but I bet Maarten will come close if not nailing it outright. Like the request above, my request is to go for the passion. I do not have the horn vocabulary to describe what I would like to hear, but I would like to have absolute control over the swells and attacks, and be able to hear that harsh overdriven (flutter??) in the low ranges. (Perhaps this is SWELL 2 (pp > ff, fluttertongue??) Anyone who has listened to Zimmer brass knows what I mean. A good example would be the first part of Bill Browns \"Intro Movie Music\" for \"Return to Castle Wolfenstein\": http://billbrownmusic.com/musicmain.htm
Maarten is expanding his brass: oh happy day! [img]images/icons/smile.gif[/img]
What terrific news! This is going to be really cool, and I giant step forward in experimental sampling techniques.
One thing I would suggest is to include a few more intervals in your list. At the very least, a perfect 4th.. but other common intervals would be major and minor 3rds, and major and minor 6ths. I hope the intervals are also one of the things you will include in your \"solo horn stuff.\" You also might want to include some downward intervals, if that is not already in your plan.
Great news! Hope you\'re doing well with your current project.
Maybe you want to include some impulse recordings in the same hall for tools like AltiVerb and Acoustic Mirror (following their procedures/guidelines). Could be very handy for your own post-processing and incidental tweaking. Also a nice add-on for the final product.
Do you have special ideas about stereo placement and the typical FH hall reflections due to the sideward oriented bells? Will the stereo image be centered or asymetric?