THE CINEBRASS FAMILY
CineBrass Sonore is another great resource in the CineBrass Family.
See how it fits in…
Spoiler:
TRUMPETS
MIXER
As with all our CineSymphony Series products, the front page provides our standard 4 mixes: Full, Close, Room, and Surround. The Full mix is the desk mix right from the MGM Scoring Stage using the Lexicon 480 and the Avalon 2055 EQ. The Close, Room, and Surround mixes are untouched and directly from the microphones on the stage. On the left are the standard CineSymphony mix presets. The Trumpets patches offer separate mixes of the Principle Trumpet (Tpt. 1) and Trumpets 2, 3, and 4.
REVERB
Each mix sends to the REVERB when the mix is on and the REVERB return is on. There are a few reverb presets in the pull down menu. By default, it’s 90s Med Hall.
We suggest always keeping this on and set to the default amount. Why? Because we use this reverb partly in our legato engine. If you have this reverb set to OFF, the Verb Comp fader (Settings Page) will not work. If you need more, or a different kind of reverb, use a send in your DAW to give the patch some glossiness. We suggest staying away from overly dense and thick reverbs – the library seems to respond best to glossy, clear reverbs with some nice sheen. And remember there is no reason to ever subject a product recorded at the MGM scoring stage to a convolution reverb, for this space is already an end game sound and it doesn’t need to be improved or modified. Adding a room to a room doesn’t always sound better.
If you are ONLY using Close, Room, and/or Surround mixes, we suggest using Tims Room C because it matches the ambience of these mixes. Also try using Tims Room R. Since the Trumpets sit toward the right it will give a subtle reflection on the left.
KEYBOARD
The RED keyswitches are latching and represent the articulations from the pull down menu above the mix presets. The GREEN keyswitches are NON-latching and control the type of overlay at the beginning of each note, even within a legato passage. The amount is determined by velocity and a volume adjust on the Settings Page (below). In order they are Secco, Forte-piano, and Swell.
LEGATO SPEED
The Trumpets’ internal legato engine responds naturally to the speed of your playing – speeding up and slowing down as you do. The SPEED knob is a global setting. Increase the speed to play less of the legato transitions and decrease the speed to include more of the transitions.
VERB COMP
The Verb Comp is the amount of reverb applied to the tails of outgoing notes during a legato performance. This adds to a more realistic performance.
LEG VOL
Leg Vol adjusts the overall volume of legato transition samples.
OVERLAY VOL
The Overlay Vol adjusts the amount of the overlay articulation selected by the GREEN keyswitches above (also determined by velocity).
REL VOL
This adjusts the volume of the note tails.
VIBRATO
Use CC2 to control Trumpet 1 vibrato. This adjusts the overall volume of those samples.
TAPE
Finally there is an optional tape saturation (OFF by default).
HORNS
MIXER
The Horns include the same 4 mixes created the same way as Trumpets: Full, Close, Room, and Surround.
REVERB
We suggest the same as the Trumpets above. You may also try using Tims Room L. Since the Horns sit toward the left it will give a subtle reflection on the right.
KEYBOARD
The RED keyswitches are latching and represent the articulations from the pull down menu above the mix presets. The GREEN keyswitch is NON-latching and adds a SFZ overlay at the beginning of each note, even within a legato passage. The amount is determined by velocity and a volume on the Settings Page (below).
* The Horns Settings Page includes the same options as the Trumpets with the exception of Vibrato.
THAT CLASSIC SOUND
Over time, many subtle things have changed for trumpets and horns. The combined result of these changes yielded more powerful, weightier, and forward-sounding modern sections. Only a few decades ago, the sound was less brassy, more streamlined, cantabile, and quieter in general. Different tonguing and blending philosophies were favored. The sections play with great agility or force, then and now. They just sound different.
It’s shocking that the 1990’s are now considered a long time ago. Many titans of the session playing world of this period have retired. As they are replaced by their younger colleagues, certain principles of pedagogy and musicality have been retired as well.
In the control room, while many of the central philosophies have remained the same, modern recording seems to have evolved to use cleaner, higher bandwidth and less colored gear. It’s now a slightly different sound, which some favor, some disdain, and most simply don’t notice.
Last year, while recording something unrelated, the original pencil marked Jurassic Park session recall sheets popped up out of the filing cabinet for some nerdy ogling. Right there on this aging paper was the actual recipe used to record the orchestra for these landmark sessions. Our vision was clear – replicate this sound. We went to great lengths to do this while always referencing the recall sheet and using the memories of some of the MGM Scoring crew who were actually there.
共鸣;音色丰富 当您看到乐谱中写有“共鸣”时，作曲家只是在要求音乐家以他们所能发挥的最大共鸣，身体和音调演奏。这是轻率和爆破的相反概念-“ sonore”是厚而温暖的声音。我们着手重新捕获喇叭和号角部分，在其中我们将音调和身体最大化，而不是仅仅专注于大声的动态。您会发现更宽广，更开放的声音在混音环境中占据了更多空间。我们选择了专门创作旋律的发音。我们最大的影响力和灵感来自于伟大的管弦乐电影作曲家所采用的有机过程。在洛杉矶索尼影业公司的米高梅计分阶段录制，
电影家庭
CineBrass Sonore是CineBrass家族的另一个重要资源。
看看它如何适合…
扰流板：
小号
混频器
与所有我们的CineSymphony系列产品，在头版提供了标准的4种混合物：全部，关闭，客房，和环绕声。完全混合是从MGM评分阶段开始使用Lexicon 480和Avalon 2055 EQ进行的桌面混合。“关闭”，“房间”和“环绕声”混音没有改变，并且直接从舞台上的麦克风中获得。左侧是标准的CineSymphony混音预设。小号补丁提供了原理小号(Tpt.1)和小号2、3和4的单独组合。
REVERB
当混合打开并且REVERB返回打开时，每个混合都会发送到REVERB。下拉菜单中有一些混响预设。默认情况下是90年代Med Hall。
我们建议始终保持此状态并将其设置为默认值。为什么?因为我们在连音引擎中部分使用了此混响。如果您将此混响设置为OFF，则动感补偿推子(设置页面)将不起作用。如果您需要更多或不同种类的混响，请在DAW中使用send来使补丁具有光泽感。我们建议不要使用过于密集和过厚的混响-库似乎对光泽度高，清晰的混响具有最佳光泽。并且请记住，没有理由对在MGM得分阶段记录的产品进行卷积混响，因为该空间已经是最终游戏的声音，不需要进行改进或修改。在房间中添加房间并不总是听起来更好。
如果仅使用“关闭”，“房间”和/或“环绕”混音，建议您使用Tims Room C，因为它与这些混音的环境相匹配。也可以尝试使用Tims RoomR。由于小号位于右侧，因此左侧将产生微妙的反射。
键盘
红色按键开关处于锁定状态，代表混音预设上方下拉菜单中的发音。绿色键开关处于非锁定状态，即使在连奏通道中，也可以控制每个音符开头的覆盖类型。该量由速度决定，并且在“设置”页面(如下)上调整音量。依次是塞科(Secco)，复钢琴(Forte-piano)和斯维尔(Swell)。
LEGATO SPEED
小号的内部连奏引擎自然响应您的演奏速度-像您一样加速和减速。SPEED旋钮是全局设置。增加速度以播放较少的连奏过渡，并降低速度以包含更多的过渡。
动词合成器
动感合成器是在连奏演奏过程中应用于外发音符尾部的混响量。这增加了更逼真的性能。
LEG VOL
Leg Vol调整连奏过渡采样的总音量。
叠加音量叠加音量可调节上方绿色键开关选择的叠加清晰度(也由力度决定)。
REL VOL
调节音符尾巴的音量。
颤音
使用CC2控制小号1颤音。这将调整这些样品的总体积。
磁带
最后还有一个可选的磁带饱和度(默认情况下为OFF)。
角
搅拌机
牛角包括相同的4个混合创建方法与喇叭一样：全部，关闭，客房，和环绕声。
重塑
我们建议与上述小号相同。您也可以尝试使用Tims RoomL。由于喇叭位于左侧，它将在右侧产生微妙的反射。
键盘
红色按键开关处于锁定状态，代表混音预设上方下拉菜单中的发音。GREEN按键开关为非锁定状态，即使在连奏通道中，也可以在每个音符的开头添加SFZ覆盖。数量由“设置”页面(如下)上的速度和音量确定。
*除颤音外，“喇叭设置”页面包含与小号相同的选项。
那经典的声音
随着时间的流逝，小号和号角的许多细微变化已经改变。这些变化的综合结果产生了更强大，更重，更具前瞻性的现代部分。仅在几十年前，声音总体上还不那么黄铜色，更流线型，可弹奏且更安静。人们倾向于使用不同的语言和混合语言。那时和现在，这些部分都具有很大的敏捷性或力量。他们听起来不同。
令人震惊的是，很久以前就考虑了1990年代。这个时期的游戏世界中的许多巨人已经退休。随着他们被年轻的同事所取代，教学法和音乐性的某些原则也已被淘汰。
在控制室中，尽管许多中心思想都保持不变，但现代录音似乎已经发展为使用更清洁，带宽更大，色彩更少的齿轮。现在的声音略有不同，有些偏爱，有些不屑一顾，而最根本没有注意到。
去年，当录制无关的东西时，标有Jurassic Park会话记录的原始铅笔从文件柜中弹出来进行书呆子搜索。在这张老化的纸上，是用来录制这些里程碑会议乐团的实际配方。我们的愿景很明确-复制此声音。我们竭尽全力做到这一点，同时始终参考召回单并使用实际在场的MMG Scoring团队的记忆。
