MarkoX50 wrote:It sound shallow,i dont know...I want richer sound
you are right, it's ugly and shallow.
But that happens all the time with workstations.
TRY THIS:
it's an old
trick, based pn psychoacustics.
the human brain detects the instruments from its higher frequencies,
the bottom frequencies are more indistinct,
while you will immediately tell a flute's "breath" from a sax's "growl".
So,
choose a brass or woodiwind program which is really distinct and peculiar, very "saxy" or "trumpety", no matter how thin or shallow it is.
you don't need an "ensemble" program (i.e.: a program which emulates a brass orchestra): you may just use one trumpet and one tenor sax. What you need is the high-frequencies peculiarity, not the volume.
Single-instrument programs usually are more articulated, so they sound better than the common "Count Basie Orchestra" preset.
Choose a dry, effect-less sound with plenty of presence. You'll had fancy reverb later, if you want, but less effect will usually make for a more detailed and "acoustic" sound.
[of course, if you are skilled at using EQ, exciter and compressors/limiter, go ahead. But a raw "maynard ferguson" trumpet sample will cut like a knife].
Then, layer another program: this time you need
a big, fat, analog horns sound (with low cutoff frequency and NO resonance, so that you don't really ear that it's a synthesyzer sound. Not too fast attack in order to avoid anticipating the low frequencies. let the ear perceive the spoecific high frequencies first, then kick him in the guts]).
Choose a "prophet horns" program, or something like that.
Then play the two together.
the brasses will sound like acoustic brasses, but they will get a whole new "punch" from the analog sound
Careful: a "analog brass" preset won't work, because it will provide too much high frequencies, and they will be too obviously synthetic.
You must sum "sampled acoustic realism" and "analog power", not the other way round.
The brain will hear the high frequencies of the sax and trumpet and will say "listen, sax and trumpet". then will ear the analog sound and will translate it into "listen, they are MANY". The two signals together will add to "brass section".
Try, it works.
You want to ear a sample, listen to Joe Zawinul playing "Y'elena" live in "Vienna Nights" (or is it "75"?): the brass section playing the riffs is just a couple of presets from Korg M1 (which your M3 can outperform easily), summed to the prophet T8 horns. You will never tell it's not Count Basie.
This doesn't solve the other problem with samples brasses: they are inarticulated, they are flat, the notes start and end almost identical no matter how many EG you use. Sampled articulation is often worse (the "falling trombone" presets on the M3 are pathetic)
But for solving that, there's only
VL synthesis. Buy 4 or 5 yamaha vl70m synths, program each one as a different instrument of the brass session, and play them with a breath controller.
This is how I do.
problem here is that 5 vl70m cost more than a m3m-88... for a 5 note polyphony.
And they'll always need some analog fattening anyway.
