From the top of my head, you can get a decent brass (french horn section) simulation with the Pulverisateur. Set two detuned oscillators to saw-tooth wave and play with the envelopes. What gives the "brassiness" to the sound is to set the attack of the filter envelope to be -slower- than the attack of the amplitude envelope. In other words, the filter opens quickly during the attack while the amplitude is already at maximum. Then decays noticeably afterwards. Playing with the shapes of the envelopes will give you different playing styles. A more sophisticated approach is to create the same effect with the Heisenberg (brass sounds are a staple of FM synthesis). You could have a simple setup with a carrier and a modulator, and assign an envelope to the modulator's amplitude to maximise the modulation's amount during the attack of the sound and minimise it gradually during the sustain. I'd start by finding a good reference of the sound you're after (a real brass section or a trumpet) in YouTube, then analyse how the amplitude works, how the brilliance works in relationship to it, what the basic timbre is, and try to get as close as you can.
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From the top of my head, you can get a decent brass (french horn section) simulation with the Pulverisateur. Set two detuned oscillators to saw-tooth wave and play with the envelopes. What gives the "brassiness" to the sound is to set the attack of the filter envelope to be -slower- than the attack of the amplitude envelope. In other words, the filter opens quickly during the attack while the amplitude is already at maximum. Then decays noticeably afterwards. Playing with the shapes of the envelopes will give you different playing styles. A more sophisticated approach is to create the same effect with the Heisenberg (brass sounds are a staple of FM synthesis). You could have a simple setup with a carrier and a modulator, and assign an envelope to the modulator's amplitude to maximise the modulation's amount during the attack of the sound and minimise it gradually during the sustain. I'd start by finding a good reference of the sound you're after (a real brass section or a trumpet) in YouTube, then analyse how the amplitude works, how the brilliance works in relationship to it, what the basic timbre is, and try to get as close as you can.
Thank you. This sound design board looks dead sometimes.
I do my best. Looking back at your topics here, it seems that you always got a good number of replies.