We believe that The Trumpet, created by Giorgio Tommasini & Peter Siedlaczek, first released (v.1.01) in 2008 and subsequently updated to v. 2.52, is still unsurpassed in the field of virtual instruments. However, why not further raising the bar, for example by introducing the new outstanding features of the Trombone 3 as requested by many customers?
We were asked to maintain retro-compatibility with the original Trumpet. The task turned out to be quite difficult, and this major upgrade required quite a time.
But finally... The Trumpet 3 is here!
The Trumpet3 further expands Samplemodeling™ technologies. Multi-microphone anechoic recording allows to capture the original timbre of the instrument, along with its radiation pattern. Our proprietary "Harmonic Alignment" yields continuous transitions across virtually infinite dynamics. Specially devised "early reflections" impulse responses add a virtual space to the anechoic sound, greatly contributing to realism (see below). The programming moves further away from conventional libraries, by exploiting physically-oriented modulation of the recorded sound. The result is a playable, very expressive virtual instrument retaining the rich, full sound of a real trumpet.
The package includes three different B♭ Trumpets, a Cornet, a Flugelhorn, a German Trumpet, and a Piccolo Trumpet. The base material of the instruments consists of 278 MB of samples, chromatically performed by a professional trumpet player over a very wide dynamic range. All samples are unlooped, and have a minimum duration of about 10 sec. The Trumpet engine is structured according to an adaptive model, based on the performance "fingerprints" of the real instrument. The purpose of the model is to minimize the differences between the real phrases and those played by the virtual instrument.
Proprietary modal resonance IRs, innovative techniques for sample modulation, and advanced artificial intelligence MIDI processing are used for real time construction of all articulations and morphing across dynamics, vibrato, legato, portamento, trills, vibrato-like endings, shakes and so forth.
Pseudo-random detuning, based on real performance-derived pitch trends, is another outstanding new feature of The Trumpet 3, adding further realism.
The purpose of anechoic recording was threefold:
The Trumpet 3 is supplied with the NI Kontakt Player 5.4.2, the read-only version of Native Instruments sampler. It involves many new features and bugfixes, including 64 bit, extended memory and multicore support, DFD optimization, better compliance with some OS and hosts, etc. The Player is included as a separate installer, and no additional software is required to play the instrument. Stand-alone mode, as well as plugin formats VST, AU and AAX, 32 or 64 bit, are supported.
The Trumpet 3 was developed on Kontakt 5.4.2 and is fully compatible with Kontakt 5.5.1. Please note, however, that it will not run on previous versions of Kontakt.
The instruments can be loaded and played in the full versions of Kontakt. Please note that they cannot be opened or modified, and no access to the samples, impulse responses or instrument programming is provided.
The Trumpet 3 includes several exciting features:
It is well known that midi keyboards have different and uneven velocity response, and this may heavily influence the performance of a virtual instrument. To obviate this problem, the instrument includes automatic detection of any velocity inhomogeneities or non-linearity of the keyboard, and provides automatic mapping to any desired curve. NEW: Similarly, user-drawn rescaling of the expression controller allows better control of the dynamics, particularly with such input devices like breath and windcontrollers.
An outstanding feature, allowing to create real time articulations which are too difficult to perform with the usual interplay of expression pedal, pitchbend and modwheel. Sforzato, crescendo, vibrato-like endings and different types of release, can be obtained by hitting one or more keyswitches. The intensity of the effect, and its duration, are under player’s control. Please note that these are not just sampled articulations, but they are sample-modeled, indeed. This means that each time each of them will sound slightly different. No machine-gun nor mechanical repetitions here.
The trumpet, like other brass instruments, uses a wide range of mutes. The most common are Harmon (with or without stem), Straight, Cup and Bucket. All these mutes are available for use with our trumpets. We used sophisticated technologies to capture the “fingerprints” of each mute, which were ultimately coded into a suitable impulse response. The latter can be instantly loaded from a drop down menu of the graphical interface, or via MIDI. Additionally, a realistic wah-wah effect can be obtained by a virtually moving plunger mute. The wah-wah can be also used in combination with any other mute.
This new feature allows precise positioning of the instruments in a virtual space, using early reflections, pre-delay, convoluted panning and perceived distance algorithms, working even in real time. The Virtual Soundstage will set you free of adding a further suitable acoustic environment, without incurring multiple-ambience issues. This can be carried out within the same Kontakt Player, which provides a high quality convolution reverb.
This is an entirely new feature, coping with the requirements of musicians using non-tempered scales, so essential in, for example, Middle Eastern and Asian music. Our approach to microtuning yields maximal flexibility, allowing user-defined scales, where the extent of detuning (range +60/-60 cents) can be precisely set for each note by means of a series of bars. The scale can be saved and recalled as a preset. In addition, selective detuning can be applied to individual notes in realtime, by using third-level keyswitches, similar to those used for split portamenti, falls and doits. In this case, all notes are detuned by a predetermined amount (up to +/-60 cents), which may be set and modified by the user. The currently detuned notes are displayed in a dedicated GUI.
All the controllers needed for proper functioning of the instrument are mapped to virtual knobs in five GUI panels, which can be activated by a drop down menu. The function of each controller is indicated by the associated label. The virtual knobs permit to monitor the incoming midi data, but can also be used to directly control the instrument. This allows users of keyboards without physical MIDI controllers or knobs, to explore the expressive capabilities of The Trumpet. Additionally, all the controllers, plus the aftertouch, can be remapped to any existing MIDI CC.
A real trumpet may play different types of legato/portamento, using either lips, valves, or a combination of the two. The sound is different, since a different harmonic resonance is excited. This is nicely reproduced by our adaptive model. One may choose to perform a continuous portamento over two octaves by simply overlapping two notes, to split it manually playing intermediate legato notes, or to split it automatically, exploiting the natural harmonic resonances of the instrument, by a keyswitch. One can also choose to perform chromatically-split portamento or realistic falls and doits.
Playing The Trumpet 3 with either a keyboard plus breath controller (e.g.TEControl), or directly with a windcontroller (e.g. Yamaha or Akai) is very easy. Breath & Windcontroller modes automatically set proper CC settings, enable triggering of note-on and off by the expression data flow, optimize the bite–to-pitch response for the individual WC, etc.
All samples in The Trumpet are mapped according to standard MIDI note numbers. This is very convenient when using a sequencer or a large keyboard. Conversely, users of small keyboards might take advantage of transposition to conveniently exploit the full range of the instrument. The Transpose knob greatly facilitates this task, by transposing keys and keyswitches at the same time, without the need to bother with keyboard programming.
This revolutionary new feature adds a virtually infinite timbral variety to sample-based instruments, by acting on the amplitude of individual harmonics, or groups of harmonics, even in real time. This is not a graphic equalizer; the controlling bars are not assigned to fixed frequencies, but to the first 10 harmonics of the played note. As a consequence, the affected frequencies vary with the pitch of the note. So, rising, for example, bar #1 will boost the fundamental frequency (first harmonic) of each note played, yielding a rounder sound. Rising bars #3, #4, #5 will increase the intensity of the corresponding harmonics for a more "nasal" sound, etc.
Special consideration has been given to creation of realistic ensembles from solo instruments, whether driven from separate MIDI tracks, or when playing unison. An advanced "ensemble maker" has been developed, affecting timing, static and dynamic pitch evolution, phase, response to dynamics, pitchbend, velocity, portamento time, in such a way that even if driven from a single MIDI source, each instrument will sound as if played by a different musician. A ready-to-use Multi, including three specially devised trumpets, the ensemble maker, and an appropriate convolution reverb, suitable for unison playing straight out of the box, is included in the package.
The Trumpet 3 provides unprecedented realism and expressiveness. However, it’s a demanding software in terms of CPU load. A modern PC or Mac with at least 1.6 GHz Core2Duo CPU is required. Less powerful systems may also prove satisfactory, but may require larger buffer sizes, involving higher latencies, and may reduce the number of simultaneously playable instruments.
A good quality audio hardware with suitable low latency drivers (ASIO for the PC) is required. Recommended buffer sizes may range from 128 (low-latency, hight CPU load) to 512 samples (higher latency, but less CPU load).
A master keyboard with some configurable MIDI controllers, pitchwheel, modwheel, and an expression pedal (or breath controller) is required for real time playing. Virtually any type of windcontroller can also be used to play this instrument. If real time playing is not contemplated (you will miss some great fun though), using a sequencer may obviate the need for several physical midi controllers, by manually drawing controller data to the MIDI tracks while maintaining full control of the instrument's expressiveness. The Trumpet 3 have been thoroughly tested on most common sequencers, like Cubase, Ableton Live, Digital Performer, Logic, Sonar, Studio One and Protools. Some excellent MIDI demos are downloadable from the Trumpet downloads page.
The Trumpet package includes several instruments belonging to the same family, namely:
The playing range of the trumpets corresponds to that of a top professional player, namely E2 – G5.
To obtain the discount coupon, please follow the instructions published here.
Yes. Immediately after installation of the software, you need to activate it via Internet, using the Service Center utility supplied with the Kontakt software. Without activation the instrument(s) will appear on a black background and will not work. The activation process is very easy, though, and is carried out in a few seconds.
The Trumpet 3 is the result of a many-year research carried out by Giorgio Tommasini and Peter Siedlaczek, who also performed all the recordings. The scripts was written by Nils Liberg and Giorgio Tommasini.
Axel Schlosser for his skill, patience and professionalism. Special thanks also to our beta testers and wonderful demo makers, and to many Samplemodeling's friends for their valuable help and cooperation.