I watch a fair amount of software walkthrough/review videos and this is one of the finest presentations I've seen. Keep up the good work and please do more. I've found Aaron very responsive and helpful, along with being a talented developer. Thanks for the tip about vibrato rate/depth. Looking forward to his strings and percussion.
Interestingly, I have been thinking about making a video on the same subject, which would be my first on UA-cam by the way, to show that you can create a really great, and above all "classical" sound with Infinite Brass. Many people don't seem to like the library, but what I read between the lines every time is that they simply can't handle the library, or can only handle those that already sound good when freshly unpacked. But these libraries are usually not that flexible. With the right settings, tricks, filters and effect plug-ins (not to mention good orchestration), one can produce deceptively real mock-ups. Now I'm glad you made a video like that, because now I can relax! I don't really enjoy editing videos, syncing them, let alone recording myself. However, as far as mic positions are concerned, I only use the close mics because I work with MIR Pro 3D to unite Infinite Brass with other libraries in the same room. This plug-in takes away the typical sound of the close mics and simulates the depth of the room. So I especially am a big fan of the VI series libraries from VSL. I also appreciate the Synchron series, especially since VSL has finally released some really good string libraries, but the VI series is fart-dry, which helps a lot when working with MIR Pro 3D. Whether my method is better or not is unimportant for the time being, because it is much more interesting that one can achieve equally good results with different methods!
Good walkthrough and tips 🙂 Have been using IB and IWW for about a year, and I love them. Had a problem with the tone and timbre of the brass at first that put me off, but when I learned that the top 20 % of the dynamic range is really FFF and should only be reserved to the loudest of passages, and to match the velocity and modulation, plus some EQ to tame the top end, I fell in love with the flexibility and playability, and they have one of the main spots in my template next to CSB which I love for its tone. The best of both worlds and a powerful combination 🙂And I actually love the shorts in IB and IWW, double, triple etc. tonguing with ease 😉 The midi automation trick was new to me, thanks for that! Went through and made CC21 (spitfires standard vibrato controller) the controller for both vibrato depth and rate in different % in the different instruments in my template 😊
Love it, Juulu! Clear and super useful for Infinite newbies like me. More of these videos, please - especially to show off your compositions. They're refreshing!
Separate instrument tracks is always the way to go due to how modern DAWs handle multi threading (one thread per track). Consolidated Kontakt sessions is a thing of the past. So totally correct approach :)
This rules. Keep it up, man - and don't sell yourself short. Have you HEARD most people's Star Wars theme mockups??? you have a shit ton of talent and finesse. I'd love to hear your thoughts on getting realistic performances out of Infinite Woodwinds - maybe it's a mixing thing but I have a much harder time with it than with IB.
Thanks so much! I want to do a guide for IW as well but I haven't used it as much as IB. I only got it about a month ago so I'm still learning it. It's pretty different from my main woodwinds library, CSW, so I have to use it a bit differently as well. I may just wait until the next large update comes out.
Nice tricks about Kontakt with Aaron Venture stuff...Both have replaced all my Spitfire, etc libraries because of flexibility and tremendous sound quality! And if you add the Nextmidi Divisimate...I am in Heaven!!
Nice guide! I own IB and IW and love them both. The Velocity vs Dynamics relationship is really important to understand (among others) and Aaron has said that he's going to release a suite of short videos illustrating all the key programming tips. The midi automation one you have for vibrato is new to me, so thanks for that! I'm going to get CDB to have another good library with a different programming approach. Do you use CSW as well?
Yes, CSW is my main woodwinds library, primarily for the soloist. The flute in CSW is the most filmic flute I've found. IW blends better, so I usually use them to double certain aspects of a song and I prefer the low reeds in IW.
@@JuulusMusic That's exactly my plan for CSW. IW is an amazing bread and butter library and CSW will give me the expressive solos when I need them. Thanks for the reply!
I have a much more this library for kontakt and toontrack because I got absolutely virtual more realistic orchestral track since has historic more nature on peruibe in my stades for our in 1959 🎻🦈
This is great and thanks for posting. I'm a new owner of infinite brass and woodwinds and loving them. The outro you played highlights a problem I have sometimes which is almost the accordion effect where it's almost like it takes a few ms to get to the core of the sound. Sometimes bringing the attack time down at or near zero helps but haven't quite wrapped my head around how to fix that. Have you noticed that or have any thoughts how to tackle that one?
@@JuulusMusic When the full sound doesn't start right away but a few milliseconds later. It's like a little crescendo into every note that sounds unnatural. I don't think it's a playing technique because I sometimes get that without touching the mod wheel.
@winknotes Oh, I'm assuming you're talking about the trumpets at the end of the main phrase? This is some bad programming on my part. If your note velocity is lower than the current CC value, the insturment will crescendo into the note. The larger the disparity between CC value and velocity value, the longer the crescendo. To reduce this effect, bring your velocities near or above the current CC value. This should make the attack of the note shorter/faster.
@@JuulusMusic In terms of tone, how do you make them sing or (at least) sound less artificial? Is the top dynamic range still reserved for triple forte? I do not own the library yet but from the limited reviews I found that it is the perfect option for me. It makes me wonder why it isn't talked about more. Thank you for your tips btw.
Appreciate the effort, but having the Kontakt instance actually show what you're playing or showing MIDI notation would be helpful for following along.
Thanks for the feedback. I plan on making another one of these "guides" if we get the Infinite Winds update, so I'll try to incorporate more visual examples.
One more question. I'm running into several situations where the brass (especially trumpet) sounds wavery and out of tune. I've experimented with vibrato depth and rate but it seems to be related to CC1 more than anything. I am using a breath controller so maybe the trumpet is more sensitive? I don't have any issues with the inifinite woodwinds.
I watch a fair amount of software walkthrough/review videos and this is one of the finest presentations I've seen. Keep up the good work and please do more. I've found Aaron very responsive and helpful, along with being a talented developer. Thanks for the tip about vibrato rate/depth. Looking forward to his strings and percussion.
Interestingly, I have been thinking about making a video on the same subject, which would be my first on UA-cam by the way, to show that you can create a really great, and above all "classical" sound with Infinite Brass. Many people don't seem to like the library, but what I read between the lines every time is that they simply can't handle the library, or can only handle those that already sound good when freshly unpacked. But these libraries are usually not that flexible. With the right settings, tricks, filters and effect plug-ins (not to mention good orchestration), one can produce deceptively real mock-ups.
Now I'm glad you made a video like that, because now I can relax! I don't really enjoy editing videos, syncing them, let alone recording myself.
However, as far as mic positions are concerned, I only use the close mics because I work with MIR Pro 3D to unite Infinite Brass with other libraries in the same room. This plug-in takes away the typical sound of the close mics and simulates the depth of the room. So I especially am a big fan of the VI series libraries from VSL. I also appreciate the Synchron series, especially since VSL has finally released some really good string libraries, but the VI series is fart-dry, which helps a lot when working with MIR Pro 3D.
Whether my method is better or not is unimportant for the time being, because it is much more interesting that one can achieve equally good results with different methods!
Cheers for taking the time to make this video and share your tips and tricks with us! It is very much obliged. ❤
Good walkthrough and tips 🙂 Have been using IB and IWW for about a year, and I love them. Had a problem with the tone and timbre of the brass at first that put me off, but when I learned that the top 20 % of the dynamic range is really FFF and should only be reserved to the loudest of passages, and to match the velocity and modulation, plus some EQ to tame the top end, I fell in love with the flexibility and playability, and they have one of the main spots in my template next to CSB which I love for its tone. The best of both worlds and a powerful combination 🙂And I actually love the shorts in IB and IWW, double, triple etc. tonguing with ease 😉 The midi automation trick was new to me, thanks for that! Went through and made CC21 (spitfires standard vibrato controller) the controller for both vibrato depth and rate in different % in the different instruments in my template 😊
Hey, I just picked up Infinite Brass and I just wanted to say THANK YOU so much for this video to help setting everything up 🙏 You rock!
Love it, Juulu! Clear and super useful for Infinite newbies like me. More of these videos, please - especially to show off your compositions. They're refreshing!
this was so useful you’re a lifesaver!!
Separate instrument tracks is always the way to go due to how modern DAWs handle multi threading (one thread per track). Consolidated Kontakt sessions is a thing of the past. So totally correct approach :)
Very cool video. I wasn’t aware of your channel, but I’ve found it and immediately subscribed!
This was super useful and you did a great job with the video
This rules. Keep it up, man - and don't sell yourself short. Have you HEARD most people's Star Wars theme mockups??? you have a shit ton of talent and finesse.
I'd love to hear your thoughts on getting realistic performances out of Infinite Woodwinds - maybe it's a mixing thing but I have a much harder time with it than with IB.
Thanks so much! I want to do a guide for IW as well but I haven't used it as much as IB. I only got it about a month ago so I'm still learning it. It's pretty different from my main woodwinds library, CSW, so I have to use it a bit differently as well. I may just wait until the next large update comes out.
2:23 yeah, you're right! chim-bah-soh 🙂
Nice tricks about Kontakt with Aaron Venture stuff...Both have replaced all my Spitfire, etc libraries because of flexibility and tremendous sound quality! And if you add the Nextmidi Divisimate...I am in Heaven!!
Nice guide! I own IB and IW and love them both. The Velocity vs Dynamics relationship is really important to understand (among others) and Aaron has said that he's going to release a suite of short videos illustrating all the key programming tips. The midi automation one you have for vibrato is new to me, so thanks for that! I'm going to get CDB to have another good library with a different programming approach. Do you use CSW as well?
Yes, CSW is my main woodwinds library, primarily for the soloist. The flute in CSW is the most filmic flute I've found. IW blends better, so I usually use them to double certain aspects of a song and I prefer the low reeds in IW.
@@JuulusMusic That's exactly my plan for CSW. IW is an amazing bread and butter library and CSW will give me the expressive solos when I need them. Thanks for the reply!
What reverb do you use, greaaaat vid btw
I have a much more this library for kontakt and toontrack because I got absolutely virtual more realistic orchestral track since has historic more nature on peruibe in my stades for our in 1959 🎻🦈
This is great and thanks for posting. I'm a new owner of infinite brass and woodwinds and loving them. The outro you played highlights a problem I have sometimes which is almost the accordion effect where it's almost like it takes a few ms to get to the core of the sound. Sometimes bringing the attack time down at or near zero helps but haven't quite wrapped my head around how to fix that. Have you noticed that or have any thoughts how to tackle that one?
Thank you! Would you mind clarifying what you mean by accordion effect? Is it like a crescendo?
@@JuulusMusic When the full sound doesn't start right away but a few milliseconds later. It's like a little crescendo into every note that sounds unnatural. I don't think it's a playing technique because I sometimes get that without touching the mod wheel.
@winknotes Oh, I'm assuming you're talking about the trumpets at the end of the main phrase? This is some bad programming on my part. If your note velocity is lower than the current CC value, the insturment will crescendo into the note. The larger the disparity between CC value and velocity value, the longer the crescendo. To reduce this effect, bring your velocities near or above the current CC value. This should make the attack of the note shorter/faster.
@@JuulusMusic oh ok. I understand now. This was a great video and your mock-ups sound really good. You should go professional 😉
Can you check out Infinite Woodwinds?
@LudwigVanBeethoven123 I do own them but I use Vwinds nowadays instead. However, the same tips I give in this video mostly work the same for IW.
@@JuulusMusic In terms of tone, how do you make them sing or (at least) sound less artificial? Is the top dynamic range still reserved for triple forte? I do not own the library yet but from the limited reviews I found that it is the perfect option for me. It makes me wonder why it isn't talked about more. Thank you for your tips btw.
Appreciate the effort, but having the Kontakt instance actually show what you're playing or showing MIDI notation would be helpful for following along.
Thanks for the feedback. I plan on making another one of these "guides" if we get the Infinite Winds update, so I'll try to incorporate more visual examples.
One more question. I'm running into several situations where the brass (especially trumpet) sounds wavery and out of tune. I've experimented with vibrato depth and rate but it seems to be related to CC1 more than anything. I am using a breath controller so maybe the trumpet is more sensitive? I don't have any issues with the inifinite woodwinds.
I think I found the issue. The Pitch Accuracy knob was turned to 0 for some reason. This seems to have cleared up that issue.
@winknotes I was gonna say I think the only thing that affects intonation is the pitch accuracy wheel. I'm glad you figured it out.
Sounds thin and tinny.