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Author Topic: Brass! True or false?  (Read 41306 times)


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Brass! True or false?
« Reply #45 on: January 05, 2006, 01:16:25 pm »
Quote from: "Sweep"
Quote from: "child.stratosphere"
Tony you're an idiot ... really one of the most despicable, sad characters i have met in forums all over the web these last 10 years (including IRC)

as one can see in this thread again you keep on stomping out the exact same three phrases, that's all you have to say ... i pitty you ... no, i pitty the people who have to put up with your idiocy and total lack of manners in threads like these ...

don't bother replying, just wanted to say out loud what a lot of people are thinking ...

Well at least Tony has something useful to say, whether or not you like the way he says it.

I find it very hard to believe you've not encountered anyone worse than Tony in ten years on the Internet. You've been very lucky, to say the least.

Right, I spend much time on forums and I must admit it's hard to find a friendly music maker over the net ... Feeling like a "so-called" musician seems to make people getting more and more egocentric  :roll:


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Peace love and understanding
« Reply #46 on: January 05, 2006, 01:58:04 pm »
Hi all!

... there must be certain rules for how you communicate with your opponents even in this forum... if there are no rules we might put them up ourselfes and that means that we all gotta listen to everyones opinion even if it sucks. And if you start bullying a people in person debates like this can be terrible unfocused. Its more up to the fact you produce to convince someone else.

I think its 100 percent ok with satire, humour and ironi to bend and twitch your arguments. And still I havent been so funny that I spelled my opponents Tony O(b)stinato´s name totally wrong :)

I really dont mind if someone is bitter or grumpy cause I got a few more important things to focus on in my agenda. But just think of it...



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So has anybody produced a decent sax sound with Brass?
« Reply #47 on: February 20, 2006, 09:16:03 pm »
I am looking for a PM synth with a decent sax sound to use with my WX7. Unfortunately, Yamaha does not seem to sell the celebrated VL70m here in Europe. So this Brass sounds good as a possibility, but how does it sound in practice? I still haven't managed to activate the licence of the demo. To me, the sax in the music samples provided really sounds like a baritone kazoo. There is some enjoyable expressiveness there, but the basic sound is just wrong. So instead of arguing about what PM can do with practice, why can't somebody post a link to a more decent example of a sax sound from the Brass.

I don't, by the way, completely buy the argument about practice. I know from experience what is involved in playing a real sax, how it reacts to all kinds of things. But using a wind controller, I can actually only control breath and lip pressure. There is no way for the PM synth to be aware of my mouth cavity, how open my throat is, and what kind of pressure I am actually applying to the reed.  I agree that it takes practice to really use the synth in an expressive way, but the basic sound should be there. Things would be different with controllers that actually measure a lot more physical parameters, but we don't have such.


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Brass! True or false?
« Reply #48 on: March 08, 2006, 10:58:40 pm »
Just thought I'd throw in my two-penny worth.

Modelling a physical synthesizer like the Modular Mg or the CS80 requires non-linear algebraic and non-linear ordinary differential equations (as well as their linear cousins for those linear moments in the dynamics). Arturia have done a brilliant job with those synths.

Modelling an accoustic instrument, particularly a wind instrument, is totally different. A dynamical model requires the solution of a mixture of non-linear algebraics and non-linear partial differential equations. These equations are multi-dimensional, catering for at least the three dimensions of the air flow plus the all important sound/pressure waves (which are non-linear of course). To do this in real time, with all the interfaces between the different parts of the instrument (the air inside the sax vibrating the body and those vibrations being correctly modelled) is the stuff of post-doc research and super computers. Arturia, with their tame French University team, must have cut massive corners to get a 'playable' instrument that responds as quickly as Brass reportedly does. They should be congratulated on producing a fantastic model -- but it will be light-years away from a real sonic copy of the physical instrument.
-- Togo

It doesn't really matter if you make it, so long as you try


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