Sample Modeling - Brass (Trumpet, Trombone, Horn, Tuba)
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Prologue
Sample Modeling is for a very long time well known for their unique approach to digital sampling. The libraries are neither based on Physical Modeling nor on Sample playback alone. They mixed, shook and stirred both approaches and serve them as unique blend = Sample Modeling
Giorgio Tomassini, whose Gofriller Cello and Stradivari Solo Violin still resonate in many musical ears, formed Sample Modeling and with their team sampled and processed all basic instruments of Brass family, Trumpet, Trombone, Horn and Tuba.
Nowadays Sample Modeling is all based on new SWAM (not swan or S.W.A.T. ) technology, isolating the instruments in their own VSTi (and AU) and therefore enabling much deeper control that was not possible with Kontakt scripting.

Introduction
When you purchase (or download) one of their libs, the first thing you'll probably notice is the SIZE. At first I was reluctant to believe that 240MB trumpet library would sound in any way realistic. Better still, the sound is incredible and the freedom given to the hands of users is beyond imagination.

Sample Modeling content is DRY, DRY as a fortnight old bread. That means you need to take some Scoring stage IR and soak it to be 100% wet. Todd-AD in Altiverb 6 is excellent for such occasions.

Specification and Layout


Fig. 1 - The Trumpet main GUI

The patches are loaded very fast, GUI visually looks great and offer unprecedented control.

Fig. 2 - Drop-down menu

Vel. curve - Adjusts the response curve to match optimal playing style. Sample Modeling as far as I know came up with the "calibration idea" where the curve is automatically adjusted based on how responsive your keyboard is. Hit Calibrate, play a few notes and you've got optimal response. Perfect!, unfortunately it's not much important as velocity controls just attack and portamento (which is how it should be). SM should do piano library with this feature.
Controllers 1 to 3 - Allows you to set certain parameters using knobs and/or monitor their values as the instrument is playing. Useful feature as you don't need to transmit excessive CCs commands.
Mutes - All Brass instruments can be equipped with a mute, and each mute has different frequency response and sound. SM offers you 4 most used mutes - Bucket, Cup, Harmon and Straight

Fig. 3 - Remapping
CC Remapping 1 to 3 - Head here if you want to remap your modwheel to control dynamics. That's one distinctive feature for SM, in all their libraries, dynamics is controlled with CC11 (Expression) and vibrato with CC1 (Mod wheel)
Wind/Breath Controller - This enables the use of Wind or Breath Controller.
Portamento time - Portamento can be controlled via CC5 or velocity. This allows for smooth transition between those two options. I'd keep it at 100% velocity, it's how many libraries play portamentos.

Next feature worth mentioning are the keyswitches. Those are actually very well covered in users' manual:

Fig. 4 - Keyswitches

All the instruments, Trumpet, Trombone, French Horn and Tuba has very similar or exactly the same functionality, with all mutes and sound modeling.

In addition, The Trumpet includes set of additional instruments as well as two more trumpets for ensembles, The Trombone feature two trombones plus one valve and one bass and French Horn & Tuba boasts with four French Horns as well as another four for Unison ensemble.

Fig. 5,6,7 - Available patches

Additional instruments (notably with The Trumpet) are based on sample set of main instrument, but with altered dynamic response, frequency response or phase to emulate the sound of the desired instrument.

Problems & Drawbacks
It might feel weird, but I have not found and problems or drawbacks using this library.
The only thing is somewhat higher CPU usage and the need of IR convolution reverb.
But the CPU usage is still tolerable and much less than with Lumina.

So that's all folks...


Conclusion
Sample Modeling Brass bundle is no doubt my most favourite brass library, boasting with incredible control and never-before recorded articulations. No longer one needs to worry about the marcato/portato/tenuto or short note length ending sooner or later, with SM Brass, you just play it and prolong it however you want. That makes composing phrases very easy, enjoyable and straightforward.
The libraries are dry, which requires an additional convolution plugin to sound realistic. Separate convolution reverb such as Altiverb can be very expensive, however one can also use ReaVerb with free IR library (Bricasti M3).
Use of additional convolution reverb increases CPU usage, but in this case, it's really worth it.
SM Brass sound extremely realistic, won my heart with its control, size, features and ease of use. After 2 years of usage, no big flaw was discovered.
Therefore I'm giving it full rating of 10 stars!
If you are considering purchase, I'd certainly recommend it, just be sure to try it first. The whole bundle occupies just 1.3GB of space, so nearly every user can download it without problems.

To give you an idea how amazing it sounds:

Reviewer's rating:
10 out of 10 stars

 

Love your reviews Andrew!

 

Awsome Andrew!

Never really payed much attention to these libs ..... I might in the future!

Thanks for another great review

 

i totally agree with your impressions. i own all their libraries and will never exchange with another one.

 

I'm surprised with your analysis this time ... 10 of 10?
I can say the same as phloopy "Never really payed much attention to these libs ....."
Now you can see the importance of your contributions, they can really helps to change some concepts... *yes*

Congratulations and thank you once more my friend

Keep going!!!

 

Andrew, I would like to point out one major weakness of Samplemodeling instruments, they are all solo instruments. Sections can be created using different dynamics/attacks and different IRs for each player but I haven't tried it yet. There are threads on this topic in ViC though.

http://www.youtube.com/watch?v=e6Ez5G0vZMI

Nevertheless, SM brass are simply the most realistic, handy and convincing brass libraries to date.

http://www.youtube.com/watch?v=OKeRFqeVFu0

 

Threadkiller,
It's true, all instruments were recorded solo, but SM phase shifted or otherwise altered the rest (Trumpet 2, Trumpet 3, ...) so that they can be played in ensemble.
Of course that how DRY libraries work, they need IR, but I would not count it as weakness.

 

SM > That´s exactly what I´m trying in a new song now. I hope I can get a decent sound from SM, I never used brass in my songs, so I´m writing and worrying how I´m going to make the mix, eqing, reverbs... compression? I know everything needs it´s own time, but my mind is always a step in advance. Also, I don´t own a midi controller, so writing the melodies and some automations is taking a lot of time...

I noticed about the dry sound, and the solo instruments, but I think it´s great. Other collections sound really big, and cinematic, or 'dreamy', but if you're not looking exactly for that epicness is hard to get a different mood or color by tweaking in those collections. They're really 'oriented'. It´s like taking out the soul of the collection or unnecesary forcing the plug. So in this case I think is nice to 'have to' complement with extra processing. If you need something more big or a section right away maybe this is not what are you looking for.

Any of you have used Sonnox or 112DB stuff here? I don´t own Altiverb and I´m wondering if convolution is a must.

Any tips about processing are welcome, I´m working in the track I want to submit for the album and I don´t want it sounding bad or plastic.

Thanks.

 

I was using it, and because it have dry sound, than I think its only suit if I'm compossing jazz or pop song. But know I understand, it will have epic sounding if I put reverb on it, I'm realizing it by reading your review, thanks andrew.

And because this lybrari recorded as solo, but have so many version of one instruments (ex, french horn 1, french horn 2, etc) that's mean we have truly control of the how wide and big the braa sound we need, we can use, 4 instruments to get big sounds, or just 2 instruments for sweet ensembles for cinematic, dramatic music score
It was a good concept, just like "divisi / chair" in LASS

 

It largely depends on the genre of music you're working on, but this diagram illustrates the most common seating for brass in an orchestra. It's hardly definite, but consider it a good starting point.

Should you get your hands on Altiverb, use Todd-AD scoring stage, wide mics, 10 metres away, position the instruments as it's shown on the chart using Stage position feature, and use separate reverb instances for every solo instrument to avoid phasing.
Whether Altiverb is out of your range, download free IR library (google Bricasti M3), and look for Worcester Hall. That is great for brass as well. Then use regular convolution reverb (I'm a big fan of Voxengo Pristine Space), load IR and adjust its volume envelope. Make sure it's 100% wet at all times. If the sound is too much washed out, attenuate ER and Tail and boost Direct.
It's necessary to load True Stereo IRs correctly, otherwise it may not sound very realistic. If you don't know how to do it in Voxengo, Liquidsonics Reverberate can do it for you. Bricasti M3 comes with True Stereo verbs as well.

Lastly, golden rule with Brass is: "Save the brass until you need them and, when used, look for an opportunity to give them a rest so they may be used again" *yes*
(source: Acoustic and MIDI orchestration for the contemporary composer, Andrea Pejrolo, page 203)

--
Update:
I plan to release another one tomorrow and one surprise special review
Update 2:
Well the special one took up 3 hours of my time, so I'll do THREE tomorrow

 

@Anfrew: THANKS A LOT
I´m just working in a 'build up' with a five piece brass ensemble.
Nothing fancy or orchestral/score-ish at all.
It´s just that I found a little harsh the sound and I´m thinking it´s going to be fighting with some guitars.
I automated some parameters to get a real feel, and it´s there, but I couldn´t get rid of the harsh edge 'in the take'.
Maybe I can´t avoid some later individual eqing. I´m aiming for a natural-unprocessed sound, but it seems that some eqing is really needed. Plus the reverb, I think I´m going to get what I´m looking for. Anyway, I´ll manage it when the mixing time comes.
Thanks again, and keep the reviews coming.