CineBrass Sonore

Rich, Resonant Trumpet and Horn Ensembles

The CineBrass Family

CineBrass Sonore is another great resource in the CineSamples CineBrass Family. See how it fits in ...

Trumpets

MIXER

As with all CineSymphony Series products, the front page provides the 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.  

CineSamples suggest always keeping this on and set to the default amount. Why? Because they 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. They 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

Cinesamples 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 (see above) 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. The vision was clear - replicate this sound. Cinesamples 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. 

Here are the steps they took to recapture the classic sound, as told by Cinesamples themselves:  

• We rented the three exact modified Neumann M50 microphones used as the Decca Tree on the original sessions. They feature a unique hi-end crispness and transparency that is instantly recognizable. These microphones have mostly been retired since the early 2000’s. We matched every other microphone on the recall sheet and set them up exactly as indicated on the recall sheet.  
• In the control room we patched in the exact preamp settings on the exact same preamps that still are mounted in the control room to this day. Most of these are now retired and replaced by cleaner and less colored signal paths by companies that weren’t created yet at the time.  
• The favored Lexicon 480 hardware reverb unit was taken out of retirement and the exact reverb patch was dialed up. This was “THE” patch of the 90’s for most of these recordings - it is so classic sounding and is also instantly recognizable. 
• One of the sonically most interesting parts of the recipe is the use of the Avalon 2055 - a delicate Class A discrete Stereo Hardware EQ that colors the high end in the most unique and hi-fi way imaginable. Also retired in favor of other mastering EQs, this box is a gem. When used correctly, it gives the most glossy sheen imaginable on the overtones, and when used incorrectly gives the harshest of harshnesses. 

The Musicians:

• Trumpet math: 1+1+2 = 4.  In the 1990’s, the venerable trumpet veterans of the day played on horns they individually favored instead of a horn dictated by the chart or principal. An A-list 4-trumpet ensemble of the early 90’s was often made of one Eb Horn (played by the principal), one C horn (played by the second chair), and two Bb horns (played by third and fourth chairs). The differing sizes of these horns projects an imperfect yet thick series of overtones into the room - incredibly tutti sounding, like the blending of a violin section. Having the principal on a smaller horn also lends a tireless and effortless quality to the high octave. Some weight on the lower notes is lost on a smaller horn, but this is where the third and fourth chairs contribute on their larger Bb horns. Modern sections often tend to favor four Bb or four C trumpets.
• Principal players of the age, especially in the brass section, were the alphas. The idea of a democratic section where each player contributes an equal percentage of the sound wasn’t a concept yet. This was especially true for trumpets. The principal was the loudest on a unison, the principal was loudest on a divisi chord, the principal hair-pinned louder, the principal was atop always. The other players knew and respected this, and instead contributed a tone full of supporting qualities to blend with the principal. The combination of three supporting trumpets and one piercing trumpet is a mainstay of this era. It has rarely been heard since. For this library we recorded the dynamics with this ratio in mind. 
• Trumpet Vibrato:  When playing tutti, Trumpet Ensembles do not use vibrato. Four trumpets vibrating at different speeds tend to sound more like a mariachi band and less like a classical trumpet section. When vibrato is heard within a section it is the principal carefully using his/her judgment when to vibrate. This is often at the apex of a phrase, a particular important note, or toward the end of a long hold. During this time, trumpets 2-4º will not vibrate at all. The vibrato we captured in this library was the principal player vibrating at the highest dynamic layer only. Use it as described above for realistic playing. However, be sure to bypass (using the bypass vibrato performance switch) on quick crescendo rips, since that would not be a proper use of it. 
• A quieter, nobler tone. The overall volume of the brass section in soundtrack recording has increased over the years. This is partly due to upgraded mouthpieces, instruments, pedagogy, and partly due to the presence of highly brassy composer mockups. Upon hearing these hyped mockups, session players have been forced to emulate this sound in an effort to satisfy the composers writing them. While sometimes appropriate, this style of playing is now found in soundtracks of all styles, including ones where it is less appropriate. In the 90’s, the median forte was a quieter and richer tone. Experiment with having the mod wheel about half way up, which would represent a “comfortable and sustainable” forte for session players. Ride the wheel into the higher zones to follow the phrase or for the most exiting moments only.

Active CC Table

Velocity controls dynamics on short articulations also controls the overlay dynamic and amount on legato transitions and sustains. 

• CC 1 Modwheel controls the dynamics of the library on legato/sustained sounds. 
• CC2* (Trumpet Only) controls the amount of vibrato contributed from Trumpet 1. 
• CC 20* controls the Volume of Overlay. 
• CC 21* controls the Speed Of The Legato Transition by Shortening or Lengthening the width of the sample. 
• CC 22* controls The Volume Of the Legato Sample. 
• CC 23* controls The Release Volume of All Release Samples. 
• CC 24* controls The Volume Of The Reverb Compensation Following a Legato Transition. 
• CC64 Pedal Assists Legato Finger Pedaling. 

Key-switches: Red changes the Articulation; Green selects an Overlay.

* user changeable

Change a CC by right clicking in Kontakt and removing current assignment, then assigning a new CC. 

Kontakt and NKS Integration

CineBrass Sonore is scripted for Native Instruments' Native Kontrol Standard (NKS) format.

System Requirements

• Requires Kontakt 5.7.2 and above (Works with both the free Kontakt Player and the paid, full version of Kontakt)
• Requires a minimum of 16GB free hard drive space during installation. Library size is approx. 8GB after installation
• Minimum 4GB RAM Recommended

Kontakt 5.7.2 Minimum System Requirements

• Mac OS X 10.10 through 10.15, i5
• Windows 7, Windows 8, or Windows 10 (latest Service Pack, 32/64-bit) Intel Core 2 Duo or AMD Athlon 64 X2

Kontakt 5.7.2 Supported Interfaces

• Mac OS X (64-bit only): Stand-alone, VST, AU, AAX
• Windows (32/64-bit): Stand-alone, VST, AAX

This instrument requires the FREE or FULL version of Kontakt 5.7.2+