User Manual

ARTURIA – BRASS 2 – USER’S MANUAL
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Attack An instrumentalist can make several different attacks according to the
pressure he gives to the beginning of the note, or the way he lets the air
pass, etc.
It would be too complex to want to control and maintain all the types of
attacks at the same time; this is why BRASS 2 offers 4 different types of
attacks in order to adapt to all the playing modes.
The attack typess are different for each instrument:
Trumpet & Trombone
 Attack 1: direct, without breath, moderately brassy, appropriate in most
situations. The transitions between notes are rather short.
 Attack 2: direct, very brass-like and marked attack. Is appropriate for
pop sounds or brass band sounds which need to be crisp. The transitions
between the notes are very short.
 Attack 3: with a lot of breath, adapted to a more jazz or ballad type of
playing. The transitions between notes are short, and long enough for
values with a weak attack.
 Attack 4: rather short, direct, without breath. Interesting for playing
traditional/orchestral trumpet parts. The transitions between the notes
are from short to fairly long.
Saxophone
 Attack 1: direct, without breath, adapted to a broad range of playing.
 Attack 2: direct and accentuated, for clear and precise sounds.
 Attack 3: staggered, for a more jazzy sound.
 Attack 4: without breath, quite soft.
Humanization This attribute is useful to make the sound of the instrument livelier; even a
very good instrumentalist never plays the notes the same way a computer
does. The breath pressure, the tension of ones mouthpiece and many other
aspects are always fluctuating. It is what gives the sound its living aspect.
The humanization attribute allows us to reproduce the tendency of an
instrumentalist to fluctuate in the way he plays:
 Computer: no fluctuations will be sent to the sound.
 Human: the variations of the sound will be those normally produced by
an instrumentalist.
 Beginner: makes it possible to strongly exaggerate those fluctuations,
as a beginning instrumentalist might play.
The humanization varies the following aspects in a very human-like manner:
 The pressure
 The noise
 The vibrato frequency and amplitude
Moreover, the more dominant the humanization is, the more the automation
variation is limited, i.e. the automation parameters become smoother. For
example, an instrumentalist can’t instantaneously make the pressure or the
position of the mute change.
The bottom part of the control display depends on the selected instrument.