These offerings have the same polished UI as Arturia’s soft synths – and will be immediately familiar to anyone using other Arturia plug-ins. Not so with the Augmented line from Arturia. You wind up either stuck in a sample engine like Kontakt or other odd interfaces, to the extent that I’m sure a lot of folks just dial up presets. But while there are many great-sounding libraries out there, they can become more unwieldy once you start to edit. Those sound design tricks have been in vogue for some time in scores and compositions, and have found their way into various libraries and plug-ins from Output, Native Instruments, and partners. The basic formula here is familiar: merge samples of solo and varying sizes of ensembles, synthesized sounds, and processed combinations. Here’s a quick patch I dialed up from scratch in a few minutes, which shows how much you can layer in a single program, combined with effects, for something as synth-y as it is acoustic: But to me, it’s really having the combination of layered samples and synths that’s appealing, and more in the from-scratch sound design category than pulling up factory patches. Note: I hear the criticism in comments about not having modeled sounds here, or the samples being vanilla. You want some brass sounds from scores, it can be that.) Or is it actually a multi-engine synth with some sampled and granular layers for effect, masquerading as a “brass” instrument? ( Absolutely, that, too – enough so you might go to this rather than another synth, at least when you want something brass-ish or with added orchestral impact.) Is Augmented BRASS even a brass library, in the orchestral/chamber sense? ( Yes. It’s like a hybrid brass plug-in even for people who don’t like brass plug-ins – more like the brass tool for synth lovers. Arturia has rounded out its Augmented line with Augmented BRASS.
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