Arturia Brass User's Manual

USER’S MANUAL

ARTURIA – BRASS 2 – USER’S MANUAL

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PROGRAMMING:

Arturia

Cristian Kreindler (Lead)
Robert Bocquier
Vincent Travaglini
Fabrice Bourgeois
Jean-Michel Blanchet
Nicolas Bronnec
Xavier Oudin
Fabrice Paumier
Cédric Rossi

Ircam
Nicholas Ellis (Lead)
Joel Bensoam
Thomas Helie
André Almeida
Matthew Burtner
René Caussé
Xavier Rodet
Norbert Schnell
Patrice Tisserand
Christophe Vergez

MANUAL:

Cristian Kreindler (Version 2)
Richard Phan (Version 2)
Antoine Back (Version 2)
André Almeida (French version)
Jean-Michel Blanchet (French version)
Christophe Vergez (French version)

Houston Haynes (Version anglaise)
Scott Stafiej (English version)

Mitsuru Sakaue (Japanese version)
Yuji Sano (Japanese version)
Katsunori Ujiie (Japanese version)

Tomoya Fukuchi (Japanese version)

GRAPHICS:

Sabine Simmermacher (Typografics)

Yannick Bonnefoy (Beautifulscreen)
Nicolas Pianfetti

© ARTURIA SA – 1999-2010 – All rights reserved.
4, Chemin de Malacher
38240 Meylan
FRANCE
http://www.arturia.com

Information contained in this manual is subject to change without notice and does not represent a commitment
on the part of Arturia. The software described in this manual is provided under the terms of a license
agreement or non-disclosure agreement. The software license agreement specifies the terms and conditions for
its lawful use. No part of this manual may be produced or transmitted in any form or by any purpose other than
purchaser’s personal use, without the express written permission of ARTURIA S.A.
Other products, logos or company names quoted in this manual are trademarks or registered trademarks of
their respective owners.

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ARTURIA – BRASS 2 – USER’S MANUAL

TThhaannkk yyoouu ffoorr ppuurrcchhaassiinngg AARRTTUURRIIAA BBRRAASSSS 22!!

In this package you will find:

• a CD-ROM containing the BRASS 2 installer for MAC OSX and Windows

7/Vista/XP/2000

• a paper manual for BRASS 2

• the Authorization Card below

Keep this card in a safe place!

We recommend that you register your product. By registering, you identify yourself as
the legitimate owner and will be sure to receive the latest news and updates for your
product. After registration, you will receive a user ID and password in order to access a
protected area on our site. It also puts you on our user notification list, so that you can
be the first to know when there are updates or new product offers.

ARTURIA – BRASS 2 – USER’S MANUAL

3

BBRRAASSSS:: ggoo bbeeyyoonndd ssaammpplliinngg

There is nothing original in noticing that the center of musical creation has switched to
the computer platform during the last decades. The evolution of composition modes
associated with software sequencers and hard disk recordings, along with virtual
instruments and effects, have undeniably had an impact on the nature of musical
creation. The musical genres particularly suited for computer creation, those using loops
or electronic sounds and processing, have seen a large and significant growth.

In this context, the contemporary musician that searches to integrate a brass section into
a musical piece has a choice: either hire a performer that can play his piece in a studio,
or find an electronic means that simulates a brass piece at low cost. This being said, the
two choices are not exclusive; a composer might wish to program a brass part
individually as a preview before recording a real performer for the final version of the
song.

In any case, a composer that constructs the basics of his work on a computer and wishes
to program individual instrument parts, such as a solo trumpet or a section of
saxophones, is always looking for new ways to express himself.

The first possibility offered to him is the use of a sampler. With such a tool, musicians
can easily perform the recorded sound of each instrument on their keyboard.
Unfortunately, this simplicity often has a price: a certain lack of expression, flexibility and
instrument control. Once the performance is captured within the individual sample, it’s
difficult to modify the performance into something resembling a live player. The search to
find the right sample can also be long and tiresome, which often does not match the
productivity criteria set by the music industry today.

For a composer the second method consists of introducing a complete loop/cycle in the
composition; that is to say a small, previously recorded musical phrase that guarantees
an expression and interpretation closer to reality. Unfortunately, the downside of the loop
is that we cannot modify the content, articulations, tone, or the mood, which strongly
limits the musical usefulness of the recorded phrase.

Beyond sampling and loop playback, there is yet another solution – physical modeling.
Particularly through research done at Stanford University (USA) and IRCAM (France), the
concept came forth to emulate acoustic musical instruments with mathematics – and
created a new path of musical exploration. The third method is, by far, the most
promising since it allows the composer to recreate the performance of an acoustic
instrument with all its finesse, while working within an interface that is familiar. Thus, in
the case of physical models, keyboard control permits a level of expression that samplers
don’t offer. In this way, the composer once again becomes the interpreter, escaping the
trap of limiting technology, and is allowed to once again focus on the creation of
expressive music.

Of course, let’s not pretend physical models are the Holy Grail of music, offering the
exact same quality and expressivity as a live performance. The musician maintains a
strong advantage since the player defines what the results must be with the instrument
as they are performing. However, the path established by IRCAM opens a new generation
of physical models, based on the technology called “Non linear multiple feedback loop”,

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ARTURIA – BRASS 2 – USER’S MANUAL

giving a promising new choice. It permits us to access a solution that goes beyond the
samplers and loop libraries, and in many ways surpasses previous physical modeling
approaches. Arturia has created BRASS as the first incarnation of this next generation of
physically modeled musical instruments.

The goal of BRASS is to offer new possibilities, placing the composer in the perspective of
the musician. The software is built around two major components: LIVE mode that allows
a musician to create full, expressive performances in real time, and RIFF mode that
offers a multitude of pre-written, yet easily modifiable loops that leave audio loop
libraries behind.

While it offers much more than sample playback and flat looping systems, the core
modes of BRASS don’t ask you to radically modify your manner of working. As an
extension, with the usage of adapted controllers such as a breath controller and with
practice and understanding of the behavior of the underlying models, you can realize the
full measure of possibilities that BRASS offers. A physical model is in a way a living
instrument, much like their acoustic counterparts – it will become more responsive with
practice. But don’t worry; this will always be infinitely faster than the mastery of the real
instrument.

We hope that you find a lot of pleasure in playing and composing with BRASS software. It
is based on years of research and development, and we wanted to present a device
easily understood that's ready for you to use right now. Enjoy your new musical
instrument, and let us know what you think. We're always looking and listening for new
ways to connect musicians with cutting-edge technologies, and your input is important to
us.

Don’t hesitate to give us your feedback by emailing us at [e-mail] – or by
selecting an option from the Contact page on our website at: http://www.arturia.com

Musically yours,

The Arturia and IRCAM development team

ARTURIA – BRASS 2 – USER’S MANUAL

5

TTaabbllee ooff CCoonntteennttss

1 INTRODUCTION: ARRANGING FOR BRASS 2 ................................................................................... 9

1.1 POP/R

1.2 R

1.3 D

1.4 J

1.5 C

1.6 F

OCK

................................................................................................................................................ 9

EGGAE

................................................................................................................................................. 10

ANCE/FUNK

AZZ

....................................................................................................................................................... 10

LASSICAL

ANFARE/MILITARY

......................................................................................................................................... 10

............................................................................................................................................. 11

.............................................................................................................................. 11

2 INSTALLATION........................................................................................................................................ 13

2.1 WINDOWS

2.2 MAC OS X

3 AUTHORIZATION.................................................................................................................................... 17

4 QUICK START........................................................................................................................................... 23

4.1 LIVE

4.1.1 Management of documents............................................................................................................ 24

4.1.1.1 Kit Zone..................................................................................................................................................... 24

4.1.1.2 Harmonization Zone.................................................................................................................................. 24

4.1.1.3 Instrument type and preset zone ................................................................................................................ 24

4.1.1.4 Instrument Configuration Page.................................................................................................................. 25

4.1.1.5 Spatialization Page .................................................................................................................................... 25

4.1.1.6 MIDI PRESET page.................................................................................................................................. 26

4.1.2 Automation.................................................................................................................................... 28

4.1.3 To Save.......................................................................................................................................... 29

4.2 RIFF

4.2.1 Editing a short riff......................................................................................................................... 32

4.3 U

5 USER INTERFACES ................................................................................................................................. 37

5.1 L

5.2 R

SING

IVE MODE

5.1.1 Center Section - Controlling Parameters in real time .................................................................. 38

5.1.1.1 Presentation of the Parameters................................................................................................................... 38

5.1.1.2 Live display of parameters......................................................................................................................... 39

5.1.1.3 Direct settings with the mouse................................................................................................................... 39

5.1.1.4 Real time control ....................................................................................................................................... 39

5.1.1.5 Control in real time - Pitch Bend and Aftertouch ...................................................................................... 40

5.1.1.6 Automation of Live parameters................................................................................................................. 40

5.1.1.7 Drawing tools ............................................................................................................................................ 42

5.1.2 Left Section – Instrument Presets.................................................................................................. 43

5.1.2.1 Choose your kit.......................................................................................................................................... 43

5.1.2.2 Choose your harmonization....................................................................................................................... 43

5.1.2.3 Choose the type of an instrument .............................................................................................................. 45

5.1.2.4 Preset selection.......................................................................................................................................... 45

5.1.2.5 Preset management.................................................................................................................................... 46

5.1.3 Right Section – Instrument configuration...................................................................................... 46

5.1.3.1 Instrument parameters ............................................................................................................................... 46

5.1.3.2 Configuration............................................................................................................................................. 46

5.1.3.3 Spatialization............................................................................................................................................. 49

5.1.3.4 MIDI PRESET page.................................................................................................................................. 50

5.1.4 Virtual keyboard............................................................................................................................ 52

IFF MODE PRESENTATION

5.2.1 Riff selection, preset management................................................................................................. 53

5.2.1.1 Management of riff presets........................................................................................................................ 53

5.2.1.2 Import and Export Riffs............................................................................................................................. 54

5.2.2 Riff properties and visualization ................................................................................................... 54

5.2.2.1 Instrument choice zone.............................................................................................................................. 54

5.2.2.2 Riff properties............................................................................................................................................ 55

5.2.2.3 Properties of each riff instrument .............................................................................................................. 55

5.2.2.4 Spatialization............................................................................................................................................. 55

5.2.3 Control of the riff mode via MIDI ................................................................................................. 56

INSTALLATION

INSTALLATION

MODE

........................................................................................................................................... 23

MODE

............................................................................................................................................ 30

BRASS 2

VIA

............................................................................................................................................ 37

(2000, XP, V

.................................................................................................................... 15

MIDI.................................................................................................................... 35

.................................................................................................................... 52

ISTA,

7) ................................................................................. 13

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ARTURIA – BRASS 2 – USER’S MANUAL

5.2.3.1 MIDI synchronization................................................................................................................................ 56

5.2.3.2 Keyboard and control MIDI configuration................................................................................................ 56

5.2.4 Editing riffs ................................................................................................................................... 57

5.2.4.1 Piano roll visualization.............................................................................................................................. 58

5.2.4.2 Zoom ......................................................................................................................................................... 58

5.2.4.3 Editing Notes............................................................................................................................................. 59

5.2.4.4 Editing the real time controls..................................................................................................................... 60

6 USING BRASS IN MIDI............................................................................................................................ 61

6.1 LIVE M

6.1.1 Using a MIDI keyboard................................................................................................................. 61

6.1.1.1 The MIDI adjustment configuration panel................................................................................................. 62

6.1.2 Using a Breath Controller............................................................................................................. 64

6.1.3 Using an EWI or EWI USB ........................................................................................................... 65

6.1.4 Assigning the external MIDI controllers....................................................................................... 65

6.2 R

6.2.1 Playing riffs on a MIDI keyboard ................................................................................................. 65

6.2.2 Riff control through a MIDI sequencer......................................................................................... 66

6.2.2.1 Riff synchronization with external sequencers.......................................................................................... 66

6.2.2.2 Importing/Exporting riffs .......................................................................................................................... 67

7 MODES OF OPERATION ........................................................................................................................ 69

7.1 S

7.1.1 Launching the Stand-alone application......................................................................................... 69

7.1.2 Preference Configuration.............................................................................................................. 69

7.1.3 Saving the configuration ............................................................................................................... 70

7.2 VST....................................................................................................................................................... 71

7.2.1 Installation .................................................................................................................................... 71

7.2.1.1 Under Windows......................................................................................................................................... 71

7.2.1.2 Under Mac OSX........................................................................................................................................ 71

7.2.2 Instrument use in the VST mode.................................................................................................... 71

7.2.2.1 Connection to a MIDI track....................................................................................................................... 71

7.2.2.2 Saving of presets........................................................................................................................................ 72

7.2.2.3 Automation................................................................................................................................................ 72

7.3 A

7.3.1 Installation .................................................................................................................................... 72

7.3.2 Use in Logic Audio........................................................................................................................ 73

7.3.3 Use in Digital Performer............................................................................................................... 75

7.4 P

7.4.1 Installation .................................................................................................................................... 77

7.4.2 Utilization of the plug-in ............................................................................................................... 77

7.4.2.1 Opening of the plug-in............................................................................................................................... 77

7.4.2.2 Connection to a MIDI channel................................................................................................................... 78

7.4.2.3 Saving the presets...................................................................................................................................... 78

7.4.2.4 Automation under Pro Tools ..................................................................................................................... 78

ODE

........................................................................................................................................... 61

IFF MODE

TAND-ALONE

UDIO UNIT (MAX

RO TOOLS

............................................................................................................................................ 65

....................................................................................................................................... 69

............................................................................................................................................ 77

OSX

ONLY

)............................................................................................................. 72

8 RESEARCH ................................................................................................................................................ 79

8.1 T

8.2 T

8.3 T

RUMPET AND TROMBONE

8.1.1 Trumpet......................................................................................................................................... 79

8.1.1.1 How does it work?..................................................................................................................................... 79

8.1.1.2 A little musical physics… a little instrumental practice…......................................................................... 79

8.1.1.3 Brassy sounding… Brass!.......................................................................................................................... 80

8.1.2 Trombone ...................................................................................................................................... 80

ECHNOLOGY USED WITH THE TRUMPET AND TROMBONE

8.2.1.1 The acoustic signature of the instrument ................................................................................................... 80

8.2.1.2 The virtual trumpeter/trombonist............................................................................................................... 81

8.2.1.3 The Physical Model................................................................................................................................... 81

8.2.1.4 Why is BRASS 2 incomparably easier to use?.......................................................................................... 82

HE SAXOPHONE

8.3.1 Musicians Technique..................................................................................................................... 82

8.3.1.1 How does it work?..................................................................................................................................... 82

8.3.1.2 Pitch of the note......................................................................................................................................... 82

8.3.1.3 Role of the Reed........................................................................................................................................ 84

8.3.1.4 A bit of musical physics… a bit of instrumental practice…...................................................................... 84

8.3.2 Pressure ........................................................................................................................................ 85

.................................................................................................................................... 82

.................................................................................................................... 79

.................................................................... 80

ARTURIA – BRASS 2 – USER’S MANUAL

7

8.3.2.1 Timbre....................................................................................................................................................... 85

8.3.2.2 Damping.................................................................................................................................................... 86

8.3.2.3 Noise.......................................................................................................................................................... 86

8.3.2.4 Instrument Control..................................................................................................................................... 86

8.3.2.5 Envelopes .................................................................................................................................................. 86

8.3.2.6 Attacks....................................................................................................................................................... 86

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ARTURIA – BRASS 2 – USER’S MANUAL

1 INTRODUCTION: ARRANGING FOR BRASS 2

Brass instruments are used in a great many music styles – sometimes discretely and
sometimes taking center-stage. To know which moment is best to insert a brass section,
musically and creatively speaking, is often the work of a brass arrangement specialist.
But what do you do if you are not a “brass arrangement specialist”?

First of all, listen to and emulate other songs of your chosen genre. Basing your
arrangement on the approach of a known work is a well-worn tradition in many musical
styles. Also, be creative. Don’t think that brass is limited merely to the styles of music
where we are accustomed to hearing them. Used appropriately, brass can give a hot,
lively touch to your piece regardless of whether your style of music fits neatly into a pre­defined category or not.

Next, determine what role you want to give to your brass section. You can use it as
accompaniment, marking transitions or strong moments in the piece (where it serves as
a response to a melodic line with singing, for example). A brass section can be used to
create melodic phrases for introductions, as the principal themes of a piece, or even to
be played along side with other instruments. Lighter arrangements (arrangements less
present in the mix) can also serve as the counter melody or harmonic reinforcement. A
single instrument can be used occasionally to punctuate a melody and, more than that,
as an instrumental solo in a transition or bridge.

Finally, consider the arrangement itself. Don’t try to overload it or do too much. A
simple, expressive horn line can be highly effective. Appreciate the work of harmony and
chords that form the notes between the different instruments, don’t settle by simply
playing all the instruments in unison. With all the parameters that BRASS 2 offers, work
on expression in your arrangements: profit from real time playing parameters such as
the attack, pressure, tone, vibrato, etc. A true instrumentalist naturally adjusts his
playing approach; that is what brings music to life.

Along those lines, think about the idiosyncrasies of an instrumentalist or of several
players together. For example, if all notes are precisely fixed using quantization, the
brass sections will sound a bit too “clean” because even the best of musicians play with a
certain shift in sound between them; this is what makes a brass section living and allows
us to perceive the subtle differences between the attack of each instrument. This
observation is true for all styles of music, to varying degrees, according to extensive
research regarding precision in performance and tempo variations. Below we have, for
the some general styles of music, some very general suggestions on using BRASS 2 to
create quality arrangements.

1.1 Pop/Rock

In general, the horn line is used to accentuate certain strong passages of the piece
(crescendo, transitions, etc.) Look for passages in you piece that can be accentuated, the
places that “miss something”, to give them the dimension of power and change that
you’re looking for. Brief and efficient riffs will be the easiest to insert into your song.
Sometimes a single, well-placed chord is enough. Until very confident with this genre,
avoid mixing the horn line with singing portions; instead, alternate them to fill empty

ARTURIA – BRASS 2 – USER’S MANUAL

9

spaces. You might do this with the melody for example. If you do put the different
portions together at the same time, it can be specifically for a passage that requires a
particular impact. Also, consider that many rock and pop songs use keyboards, organs,
and synth pads to fill in chords during certain passages. A horn line can work with these
instruments, or can replace them. Just be careful that “human” phrasing is used, as a
synth pad can be held much longer than a note from a brass instrument, and careful
attention to phrasing is required if a synth effect is to be avoided. There are countless
examples of bands that use horn lines effectively. Of course, the band Chicago stands out
as a Classic Rock group that used the horn line as their center-piece, and of course Bruce
Springsteen's work with the E-Street Band. But there are also many, many current rock
groups and artists that use brass effectively in their work: Morphine, Cake, No Doubt,
Mighty Mighty Bosstones, Sublime, and Beck are all fine examples, with many others that
you will hear on the radio or see on television nearly every day.

1.2 Reggae

Brass sounds in this genre are well established – even fundamental, and we can usually
distinguish the different instruments in the arrangement. The phrasing has the role of
accompaniment to the melody, but is also found very often in refrains guiding the
melodic line. Horns can also serve as a rhythmic complement from a harmonic base.
Reggae is a style that permits a large amount of creativity and liberty for the usage of
BRASS 2. It is, therefore, natural that you can begin to integrate the riffs and different
parts of brass very early in the creation of a piece. Begin by determining what different
roles it is going to play throughout the arrangement, and then by selecting or creating
the riffs and phrases so that each instrument is discernable in the mix. However, in the
relatively open arrangements of Reggae music, horn lines do not need to have a very
high sound volume to be correctly mixed and heard. Of course, the most important part
of the reggae horn line is how it interacts with the “riddim”. Just about any reggae song
with a horn line will provide a general sense of the genre, but some obvious discography
choices would be anything from either of the Marley brothers or Burning Spear.

1.3 Dance/Funk

Brass instruments are very important in this style. It brings the bright, festive, energetic,
and rhythmic touch that these styles demand. The spread of dynamics are important and
play an integral part of an effective arrangement. Therefore, the level of expression in
your instruments, particularly the attack, will require a great deal of focus. Elaborate
harmonic portions with two trumpets, one saxophone and trombone, for example.
Sometimes, two trumpets are enough to create parts at octaves, fifths or even thirds…
Experiment several ways to harmonize. It takes a bit of time, but in general the results
should contain harmonic richness that will get the audience moving. Sometimes effects
such as a “fall”, “swell”, or “up” techniques are sufficient to launch the piece into a
creative intro. Some well-placed short “hits” also enrich the piece in a simple, yet
efficient way. Again, there are many good examples for these genres, but as a start,
consider the amazing horn lines from James Brown or Tower of Power, and for classic
dance tracks there's no better example than Earth, Wind and Fire.

1.4 Jazz

No other style of music explored the different playing palettes as much as jazz. For this
reason, it is a bit difficult to describe a certain way to use any horn in jazz because it is
so varied and uses a bit of everything. We can describe, however, several very general
configurations. Large sections, called “Big Band” sections, are found in many
configurations. Arrangements of this type of formation are fairly complex, more so on the

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ARTURIA – BRASS 2 – USER’S MANUAL

level of rhythm than melody. There are many examples of this – Benny Goodman and
Glenn Miller, even today the Brian Setzer orchestra makes good use of horns in a big
band setting.

In smaller sections there are fewer instruments, of course, and often a wider harmonic
selection is explored. With the smaller sections, we can use BRASS 2 with harmonized
trumpet, saxophone, and trombone to create a tight ensemble. Consider any of the Blue
Note recordings of smaller jazz ensembles for ideas on this approach. McCoy Tyner's “A
Search for Peace” and Herbie Hancock's “On Green Dolphin Street” are prime examples.

In solo, jazz has always given a large place to brass players. There are a number of
legendary soloists who have changed history with their instruments. To reproduce all the
finesse and nuance of these musicians seems daunting, but nonetheless, you can
reproduce a quite a number of solo playing modes with BRASS 2. To elaborate your brass
performance in a jazz style, begin by deciding on the focus of a single instrument. A
complex portion with several instruments would probably be a bit too long and really
difficult to arrange, given that you have to take the parameters of expression for each
instrument into consideration to obtain a good sound; this is, after all, what happens in
reality with the true musicians in brass sections who play each of their instruments with
unique expression. The sound palette in Jazz is vast. Phrasing is often played with a
subtle combination of legato and detached notes, while alternating styles or punctuating
the notes that follow. Expression is also carried by the variations in the pressure sent to
the instrument, so much so that the note can sometimes be inaudible for one fraction of
a second or might finish in a rapid decrescendo. Consider the trumpet work of Miles
Davis or Wynton Marsalis, the sax performances of Stan Getz or Wayne Shorter, or the
trombone solos of JJ Johnson or Bill Watrous. There is a vast array of virtuosos to draw
from.

1.5 Classical

Using Brass in this style is centered mostly around the trumpet and trombone, with
seldom an entry for the saxophone. The sound can be very different in function of the
usage: either in sections or solos. For example, using trumpets in a section can give a
majestic aspect to the piece; the sound will be straightforward and have easily
discernable attacks. In this style of arrangement, take care not to synchronize the
different trumpets too precisely in order to give the ensemble a realistic effect; even in
classical arrangements there needs to be a space between the notes played. For the part
of trumpet soloists, use a more subdued sound with well-controlled attacks. Play while
alternating between detached and linked notes to give lightness to the playing style. For
a sequence of fast notes, put the accents on the “key notes”, or on the notes a bit higher
than the others, such that the musician has to “search for it”. Any of the classical solo
works from Wynton Marsalis will present a clear image of this approach.

1.6 Fanfare/Military

These styles of music use brass in a powerful and commanding way. Expression in the
playing technique is not the principal element: the ensemble needs to be coherent with a
good level of synchronization. The sounds are very strong and the attacks are direct.
Most of the notes should be attacked without legato in order to give the phrasing a
powerful and detached aspect. The harmonies are simple in general; there are unisons or
often fifth intervals based from the beginning in order to hear several instruments
playing simultaneously. To create an interesting ensemble effect, think about the effect
of multiplication of BRASS 2 instruments; this quickly gives an impression of playing a

ARTURIA – BRASS 2 – USER’S MANUAL

11

section to the ensemble. Make the principal attacks vary, with pressure and tone usually
raised even on the notes which have a weak attack. Aaron Copland's “Fanfare for the
Common Man” has a fair combination of separated and slurred phrasing that illustrates
both extremes for this sub-genre. Also, Respighi's “Pines of Rome” has very strong
trumpet and trombone parts in the section “Appian Way”. Many modern film scores also
use brass in this manner. One should not be required to venture too far to find an
example worth study and emulation.

This is only “the tip of the iceberg”. The most important thing is to listen, learn, and most
of all – create.

12

ARTURIA – BRASS 2 – USER’S MANUAL

2 INSTALLATION

2.1 WINDOWS installation (2000, XP, Vista, 7)

Insert the CD-ROM into the drive. Explore the contents of the CD-ROM, double click on
the icon named Brass 2 Setup.exe.

At the first step of the installation, choose the destination folder for the BRASS 2
installation. By default, it will be installed in this location:

C:\Program Files\Arturia\Brass 2

You can change the destination with the Browse button.

Choose the installation folder

BRASS 2 will be installed as a standalone application. The following stage will let you
choose to install BRASS 2 as a plug-in. To do this, choose the protocol(s) that you wish
to use (VST or RTAS). For more information on these protocols, go to Chapter 7.

ARTURIA – BRASS 2 – USER’S MANUAL

13

Choice of protocols

For the VST protocol, you must choose an installation folder in order for the host
application to use BRASS 2 as a plug-in. If you do not know how to make this choice, go
to Chapter 7.

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ARTURIA – BRASS 2 – USER’S MANUAL

Choice of VST plug-in installation folder

The installation program now has enough information to complete the installation. When
the installation process is completed, please proceed to the authorization step (Chapter

3).

2.2 MAC OS X installation

Insert the CD-ROM into the drive. Explore the content of the CD-ROM, then double click
on the icon named “Brass 2 Setup Mac”.

Follow these steps:

1. read and accept the End User License Agreement,

2. select a destination.

When prompted, enter the administrator name and password of your computer in the
authentication window.

ARTURIA – BRASS 2 – USER’S MANUAL

15

Authentication window

BRASS 2 will next be installed as a standalone application, but also as VST, AU and RTAS
plug-ins.

The installation program now has enough information to complete the installation. When
the installation process is completed, please proceed to the authorization step (Chapter

3).

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ARTURIA – BRASS 2 – USER’S MANUAL

3 AUTHORIZATION

Now that your BRASS 2 has been installed, you have to authorize the synthesizer.

This doesn’t apply to owners of the previous 1.x versions, who may use the software immediately by using

their USB-eLicenser hardware dongle.

Contrary to 1.x versions that used the USB-eLicenser protection scheme, BRASS 2 uses
the “Soft-eLicenser” virtual dongle solution by default. Avoiding the use of a USB port,
this system allows using the synthesizer on one machine which must be connected to the
Internet during the authorization process.

To transfer your license on another computer, or simply use BRASS 2 on several computers (one instance

at a time), you will need:

_ to use one USB-eLicenser hardware dongle (sold separately, also used by many other software editors);

_ in the eLicenser Control Center, to drag-and-drop your license from Soft-eLicenser to USB-eLicenser.

This transfer, requiring a valid Internet connection, can be done both ways:

_ from Soft-eLicenser to USB-eLicenser;

_ from USB-eLicenser to Soft-eLicenser.

Please check the eLicenser documentation installed on your computer for any further technical detail.

The first step is to register your software in order to obtain the activation code that will
enable you to actually use the software.

You should have handy the license serial number of BRASS 2 and the unlock code (these
are an integral part of the software and are printed on a small plastic card)

Connect your computer to the Internet, and go to this web page:

http://www.arturia.com/login

If you don’t have an Arturia account yet, please create one now:

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This will send you to this form:

If you already have an account settled, simply log in:

Once you are logged into your account, you can register your BRASS 2 and request your
activation code.

Go to the “My Registered Products” section of your account and click on the “Add”
button:

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In the form that appears, select “BRASS 2” in the drop down menu, and key in your
synthesizer serial number and unlock code (as written on the registration card):

You will then see the confirmation screen:

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And finally there is a screen from which you can copy the eLicenser activation code.
The very same information is sent to you by email as a backup.

Now that you have retrieved the activation code, launch the eLicenser Control Center.
This application has been automatically installed on your computer along with BRASS 2,
it can be found here:

• Windows: Start > Programs > eLicenser > eLicenser Control Center

• Mac OS X: Finder > Applications > eLicenser Control Center

The screenshots below have been taken on a Mac OS X operating system; however the process is strictly
identical under a Windows XP/Vista/7 environment. The same functions apply, only the graphical user interface
slightly differs.

In the eLicenser Control Center main window you should see a “SeL” virtual dongle
installed onto your computer.

The eLicenser Control Center main window, showing an empty Soft-eLicenser.

In the eLicenser Control Center menu, click on the “Enter Activation Code” button, and
enter the code when prompted. Simply paste in the 32-digit code you’ve just copied from
your account on the ARTURIA website:

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Enter the activation code

The eLicenser Control Center is now ready to download the software license that will
allow you to use BRASS 2. Click on Start, the progress bar should increase until
download completion. A popup window will confirm completion, then just click “Close”.

Now the main eLicenser Control Center window should show your BRASS 2 license
installed and activated.

License is installed and activated

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It’s now time to launch BRASS 2.

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4 QUICK START

This chapter will introduce you to the general principals of the functions in BRASS 2. You
will find a precise and detailed description of each function in later chapters.

BRASS 2 is a virtual instrument that offers the possibility of programming and playing
different brass instruments quite easily. It offers 3 types of instruments: the trumpet,
tenor saxophone, and trombone either in solo or ensemble modes.

The BRASS 2 software is divided in two parts: Live and Riff modes.

4.1 LIVE mode

Live Interface

As the name indicates, the “LIVE” mode is designed to play in real time on a MIDI
keyboard or with the help of a breath controller. In version 2 you can play up to four
brass instruments simultaneously, using different harmonization modes. It is also in this
interface that you can change the tonal characteristics of each instrument and create
new presets. By “preset” we mean either instrumental settings that permit you to obtain
a particular sound and performance response, or up to four such presets along with the
harmonization settings to use with these instruments (this forms a kit “preset”), or the
harmonization settings, grouped in a harmonization “preset”.

The Live mode window is composed of three distinct parts:

• on the left side reside the kit, harmonization and instrument presets as well as the

harmonization editor and file manager;

• on the center is the real time synthesizer;

• on the right, is the general configuration that concerns all of the following: the

instrument selected, the spacialization, and MIDI settings.

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4.1.1 Management of documents

4.1.1.1 Kit Zone

In the “Kit” tab there is a drop down list containing all the kits (sections of one up to four
instruments with harmonization options). For now, simply choose a solo kit.

4.1.1.2 Harmonization Zone

 You can load a second instrument on the second instrument slot, for example a

saxophone. In order to play these two instruments together, harmonization
options are provided. You can either load a harmonization preset, or set the
different options for each instrument slot in the Harmonization Page accessed by
clicking the EDIT button right of the harmonization preset list.

4.1.1.3 Instrument type and preset zone

In the INSTRUMENTS tab, four identical zones set the type and preset of each of the four
instruments.

With the light grey drop-down lists you can choose one of the 3 instruments proposed in
BRASS 2: for the first example we’ll choose the trumpet on the first slot.

With the dark grey ones, one of the presets can be loaded for the instrument in the
respective slot.

Select one among the 30 presets created for this instrument. This preset recalls:

• all settings of the synthesis parameters (seen in the center section of the screen),

• the configuration of the instrument and the spatialization (seen to the right of the

screen)

• the MIDI control settings for playing the instrument using a keyboard, a keyboard

and a Breath Controller or an Akai EWI.

Choose a preset

 Start by playing a few notes on your MIDI keyboard (or on the keyboard situated

in the middle of the screen). Change the pressure and tone parameters, and listen
to the changes while you play.

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Change the pressure parameters

The BRASS 2 faders are unique. The colored bar graph indicates the value of the fader. The two arrows
situated to the right and the left represent the boundaries between which the fader will be modulated if we
assign it to a MIDI control.

4.1.1.4 Instrument Configuration Page

 Change the global playing characteristics of the trumpet by adding and removing

a mute to this example. Click on the “Configuration” tab then apply the mute to
the instrument by clicking on the adequate icon. To take away the mute, click on
the “no mute” icon.

« Mute » and « no mute » icons

4.1.1.5 Spatialization Page

 Try to change the position of the trumpet in the stereo space. Click on the

“Spacialization” button, and then click on the trumpet icon to instantly position it
in the middle of virtual room. Move the instrument by sliding it across the room.

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Spatialization

4.1.1.6 MIDI PRESET page

 To finish, click on the MIDI PRESET tab in order to connect the playing parameters

to the external MIDI controllers.

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MIDI PRESET page

 By default the page focuses on the selected slot’s midi configuration; in this case

the second saxophone

 You can add connections between MIDI control sources and instrument

parameters by clicking on the “+” button.

 For a connection you can choose:

• The MIDI modulation source (velocity, pitch bend, MIDI CCs...),

• The instrument’s parameter to be controlled using the MIDI control set above,

• The mapping curve for the controller’s values onto the parameter and,

• The previously set control’s gain.

Thus, the way the instruments respond to your playing can be tweaked very precisely !

 Connect, for example, the velocity to the attack, then the modulation wheel to

instrument pressure and vibrato.

Connect “modulation wheel” to the “pressure”entry

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It’s possible to connect several parameters from one modulation source. In order to do this, add connections
and choose the modulation parameter as source in all of them and the parameters you want to control as
destinations.

 In order to delete the connection, select the connection then press the button “-”

(“Remove Connection”).

 You can also change the border (extreme values) between which the control

parameter of MIDI will maneuver. Close the MIDI PRESET page then click on the
arrow surrounding one of the 8 synthesis sliders of the main page.

Change the response rate of each modulation

4.1.2 Automation

As an option, it is possible to program the evolution of a parameter through time, each
time you press a key. Thus, you can program the beginning of a progressive vibrato, or a
light point of white noise in the sound attack. To assign a modulation curve to one of the
8 available parameters:

 Click on the “A” button situated above a synthesis fader in order to open the

design interface of the curve. Open, for example, the interface corresponding to
“noise”.

Click on the “A” button

 You can choose the tool type that helps you design the curve that you wish to

apply to the parameter. Take the “pencil” tool to design a curve by hand.

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