Another new feature is microtuning, applicable to individual keys even in real time, to better cope with non-tempered scales, so essential in, for example, Middle Eastern and Asian music.ĥ. Rising bars #3, #4, #5 will increase the intensity of the corresponding harmonics for a more "nasal" sound, etc.Ĥ. So, rising, for example, bar #1 will boost the fundamental frequency (first harmonic) of each note played, yielding a rounder sound. As a consequence, the affected frequencies vary with the pitch of the note. This is not a graphic equalizer the controlling bars are not assigned to fixed frequencies, but to the first 10 harmonics of the played note. This revolutionary new feature adds a virtually infinite timbral variety to sample-based instruments, by acting on the amplitude of individual harmonics, or groups of harmonics, even in real time. This can be carried out within the same Kontakt Player, which provides a high quality convolution reverb.ģ.Real time Timbral Shaping.
#Can you use swam engine without expression controller free
This will set you free to add a further suitable acoustic environment, without incurring multiple-ambience issues. This new feature allows precise positioning of the instruments in a "dimensionless" virtual space, using early reflections, pre-delay, convoluted panning and perceived distance algorithms, even in real time. A new ER algorithm exploits the directional information of multi-microphone anechoic recordings to recover the full, rich timbre of the instrument along with its radiation pattern, adding proper virtual space to the anechoic sound.Ģ.Virtual Soundstage. Sample modeling have some interesting added features for the trumpet and trombone:ġ.New Early Reflections algorithm. Other than my studio when I want to have a blast by myself.Īha.so It´s here the SWAM sounds ended up.had no idea about Audio Modeling company.īut Sample Modeling also have the same brass instruments.albeit in Kontakt version.anyone knows how these compare regarding sound? YMMV.įor music that is newer than rock, has there been a bifurcation, where some is completely acoustic (think Live From Here) and some has electronics with no attempt to sound like acoustic instruments? If so, I don’t see a place to use these hyper-realistic synthetic acoustic VSTs in those scenes. Or a rich distorted B3 playing the Stevie Wonder horn lines in Superstition. In a live setting I would rather hear a guitar play the Baker Street lick than a synth trying to sound like a sax. Rock bands are moving into the past, like jazz combos and big bands have gone before. I imagine that the SWAM instruments could have been big on stage in the 80s. Now we’re talking about the aesthetics of particular music scenes. Just like I wouldn’t use a harpsichord VST in a baroque orchestra. After all this is going on in every film that has CGI effects.īut even if the sound were100% on, I wouldn’t use it in a jazz band. But it might add something when inside a mix that could cover up the deficiencies. So I wouldn’t use this where the sax is ‘the’ lead instrument. The sound realism is maybe 85%, because it’s modeled, and dead-on real phrasing is tough. The question I have for myself (and I own a Rise49 and SWAM viola) is where could I actually use this?
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