- #Audio modeling swam engine instruments mpe how to
- #Audio modeling swam engine instruments mpe pro
- #Audio modeling swam engine instruments mpe software
Conceived by Stefano Lucato and developed in collaboration with Emanuele Parravicini, the SWAM engine combines concepts of Physical Modeling and Behavioral Modeling with the Multi-Vector/Phase-Synchronous Sample-Morphing technique. I can't seem to go from a fading tone to an unpitched breath sound to finally silence. SWAM (Synchronous Waves Acoustic Modeling) is a new-generation, sophisticated proprietary technology that enables musicians, performers, and composers to overcome the classic limitations of traditional samplers.
#Audio modeling swam engine instruments mpe how to
I remember a friend showing me it was possible to do with the Sample Modeling Sax Brother saxes (though I don't recall the exact details of how), but I've never figured out how to do it using the SWAM saxes. One question I have is whether or not its possible to "play" a note but only get a breath sound. While most of the instruments in this list are based around high-quality samples of real instruments, the SWAM All In Bundle uses physical modeling to create amazingly expressive string, brass, and woodwind sounds. As mentioned above, the degree to which it can be made to sound realistic is more a question of how savvy the user is in programing all the different available control parameters (something I'm always learning more about).
![audio modeling swam engine instruments mpe audio modeling swam engine instruments mpe](https://audiomodeling.com/wp-content/uploads/2018/09/SWAM-S_01.jpg)
Like any even great vst it's not the same as the real thing, but it's close enough and expressive enough to be inspiring to play and compose for (whether with a midi keyboard and breath controller or with an EWI).
#Audio modeling swam engine instruments mpe software
It along with Reaper were my first music software purchases. But I can't officially put my money where my mouth is until I actually dig in and start working with the SWAM instruments for ensemble work, which may not be until next year.Īs a former alto sax player who had to finally give up playing due to repetitive strain injuries, the SWAM Sax VST has been a godsend. Its an artificial vibrato from the LFO paradigm. Some libraries let you control a vibrato. Not familiar with the SWAM engine, but the demos of that library have impressed me.
![audio modeling swam engine instruments mpe audio modeling swam engine instruments mpe](https://softotornix.com/wp-content/uploads/2020/06/Audio-Modeling-SWAM-Engine-Bundle-VST-Spontaneous-Free-Download2.jpg)
#Audio modeling swam engine instruments mpe pro
VSLs VI Pro is a million miles above most UIs in terms of control of samples. Although I haven't used the SWAM saxes to create ensembles yet, my limited experience with SWAM instruments (which includes string ensembles) leads me to believe it could be done quite convincingly by editing the notes and CC data as well as the SWAM engine's wealth of parameters. The SWAM solo strings are not style-bound like that.
![audio modeling swam engine instruments mpe audio modeling swam engine instruments mpe](https://i0.wp.com/worldpremiumware.online/wp-content/uploads/2020/06/Audio-Modeling-SWAM-Engine-Bundle-VST-Free.png)
There are reasons why individual VI tracks, whether sampled or modeled, can sound synthy and phasey when mixed, but there are also techniques for minimizing or eliminating that effect, such as using round robins, using adjacent samples and repitching them, adjusting timing, using adjacent dynamic layers, EQ, etc. I will suggest, though, that if you're hearing a phasey/synthy sound in demos, first try to determine if it's the library or the user. I haven't experimented with that yet, because the arrangements I'm currently recording only use one sax.