With melody lines sounding joined-up and note repetitions losing their mechanical ‘machine gun’ quality, it became harder to differentiate MIDI orchestrations from the real thing. Now, when you played (for example) an ascending interval of a major third, you heard the actual played interval with its original built-in note transition, as opposed to two separate, unrelated samples played consecutively. After Vienna Symphonic Library unleashed their pioneering ‘interval legato’ sampling in 2002, nothing was the same again. The subsequent sea change from hardware to software sampling was followed by breakthroughs in note connectivity and velocity crossfading, while ‘round robin’ sampling allowed repeated notes to sound subtly different from each other. However, things began to change in the 1990s: full-orchestra collections sprouted brass volumes, and by the turn of the century stand-alone libraries such as Quantum Leap Brass showed that brass could sound just as vibrant and expressive as strings when multisampled performing a variety of articulations and dynamics. The first wave of orchestral releases was dominated by strings, and at first it seemed unlikely that an intensively sampled collection like (say) the Denny Jaeger Master Violin Library would ever have a brass equivalent. Our comprehensive product guide shines a spotlight on the current contenders.īrass instruments are a vital component of orchestral sample libraries, but it wasn’t always so. With so much choice on offer, picking the right brass library for your music can be tricky.
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