USER MANUAL_AUGMENTED BRASSSpecial Thanks
DIRECTION
Frédéric Brun

Kevin Molcard

PROJECT MANAGEMENT
Baptiste Aubry

PRODUCT MANAGEMENT
Callum Magill

DIGITAL SIGNAL PROCESSING
DSP libraries:

Yann Bourdin

Alessandro De Cecco

Marius Lasfargue

Samuel Limier (lead)

Hugo Caracalla

Loris De Marco

Fanny Roche

Marc Antigny

Andrea Coppola

Geoffrey Gormond

Kevin Arcas

Mauro De Bari

Rasmus Kürstein

Corentin Comte (lead)

Stéphane Albanese

Raynald Dantigny

Pierre Mazurier

Samuel Lemaire

Pauline Alexandre

Pascal Douillard

Fabien Meyrat

SW libraries:

Baptiste Aubry

Samuel Lemaire

Mathieu Nocenti

Pierre-Lin Laneyrie (lead)

Yann Burrer

Cyril Lépinette

Marie Pauli

Alexandre Adam

Corentin Comte

Christophe Luong

Patrick Perea

Frederic Kokott

Maxence Berthiot

Morgan Perrier

Tobias Menguser (lead)

Florian Marin

Jörg Huettner

Victor Morello

Quentin Feuillard (co-lead)

ArovaneMarco Iodice

Richard Veenstra

Lily Jordy

Gustavo Bravetti

New Loops

Yuli Yolo

Jean-Michel Blanchet

Ed Ten Eyck

Alex Lu

Maxime Audfray

Klaus Baetz

Rob Martland

SOFTWARE

DESIGN
Callum Magill (lead)

SOUND DESIGNQUALITY ASSURANCE
Julien Viannenc (lead)

Arnaud Barbier

Germain Marzin

Adrien Soyer

Nicolas Stermann

Matthieu Bosshardt

Aurélien Mortha

Enrique Vela

Nicolas Naudin

Bastien Hervieux

Roger Schumann

Jason JervisÁngel Domínguez

Charlotte Métais

Jimmy Michon

Minoru Koike

Holger Steinbrink

MANUALIN-APP TUTORIAL
Gustavo Bravetti

BETA TESTING
Paolo Negri

George WareDavide Puxeddu

Tony Flying Squirrel

TJ Trifeletti

Mat Herbert

Kirke Godfrey

Dwight Davies

Andrew Macaulay

Gary Morgan

Mateo Relief vs MISTER X5© ARTURIA SA – 2023 – All rights reserved.
26 avenue Jean Kuntzmann
38330 Montbonnot-Saint-Martin
FRANCEwww.arturia.com
Information contained in this manual is subject to change without notice and does not
represent a commitment on the part of Arturia. The software described in this manual isprovided under the terms of a license agreement or non-disclosure agreement. The software
license agreement specifies the terms and conditions for its lawful use. No part of thismanual may be reproduced or transmitted in any form or by any purpose other thanpurchaser’s personal use, without the express written permission of ARTURIA S.A.
All manufacturer and product names mentioned on this manual are trademarks of theirrespective owners, which are in no way associated or affiliated with Arturia. The trademarksof other manufacturers are used solely to identify the products of those manufacturers
whose features and sound were studied during the development. All names of equipment,
inventors, and manufacturers have been included for illustrative and educational purposes
only, and do not suggest any affiliation or endorsement by any equipment inventor or
manufacturer.
Product version: 1.0.0

Revision date: 31 May 2023

Thank you for purchasing Arturia Augmented
BRASS!
This manual covers the features and operation of Augmented BRASS.
Be sure to register your software as soon as possible! When you purchased Augmented
BRASS you were sent a serial number and an unlock code by e-mail and/or the Arturia
Downloads & Manuals. These are required during the online registration process.

Special Messages
Specifications Subject to Change:
The information contained in this manual is believed to be correct at the time of printing.
However, Arturia reserves the right to change or modify any of the specifications or features
without notice or obligation.

IMPORTANT:The software, when used in combination with an amplifier, headphones, or speakers, may
be able to produce sound levels that could cause permanent hearing loss. DO NOT operate
for long periods of time at a high level or at a level that is uncomfortable. If you encounterany hearing loss or ringing in the ears, you should consult an audiologist.

Introduction
Congratulations on your purchase of Arturia Augmented BRASS
Augmented BRASS incorporates rich multi-sampled brass sounds with state-of-the-art
synthesis combining them in an approachable, exciting software instrument. This will givemodern producers immediate access to a comprehensive range of authentic, abstract, andevocative brass sounds.
Be sure to visit the www.arturia.com website for information on all our other inspiringhardware and software instruments, effects, MIDI controllers, and more. They have become
indispensable tools for many visionary artists around the globe.
Musically yours,
The Arturia TeamTable Of Contents
1. Welcome to Augmented BRASS ......................................................................................................................... 3

1.1. Augmented BRASS sound engine................................................................................................................................ 3
1.2. Features ....................................................................................................................................................................................... 3

2. Activation and First Start ........................................................................................................................................ 4

2.1. Activate the Augmented BRASS license ................................................................................................................. 4
2.1.1. The Arturia Software Center (ASC).................................................................................................................................................................... 4

2.2. Augmented BRASS as a plug-in.................................................................................................................................. 4
2.3. Initial setup for Standalone Use................................................................................................................................. 5
2.3.1. Audio and MIDI settings.......................................................................................................................................................................................... 5

2.4. Taking Augmented BRASS for a Test Drive ......................................................................................................... 7

3. The User Interface ...................................................................................................................................................... 8

3.1. High-Level Overview ........................................................................................................................................................... 8
3.2. The Upper Toolbar ............................................................................................................................................................... 9
3.2.1. The Augmented BRASS menu ............................................................................................................................................................................. 9
3.2.2. Browsing Presets ........................................................................................................................................................................................................ 11
3.2.3. Advanced panel button ......................................................................................................................................................................................... 12
3.2.4. Side Panel Settings .................................................................................................................................................................................................. 123.3. The Lower Toolbar ............................................................................................................................................................. 123.4. The Side Panel...................................................................................................................................................................... 13
3.4.1. Settings Tab.................................................................................................................................................................................................................... 13
3.4.2. MIDI Tab ......................................................................................................................................................................................................................... 15
3.4.3. Tutorials Tab ................................................................................................................................................................................................................. 18

4. The Preset Browser .................................................................................................................................................. 19
4.1. Search and Results........................................................................................................................................................... 20
4.2. Using Tags as a Filter....................................................................................................................................................... 21

4.2.1. Types .................................................................................................................................................................................................................................. 21
4.2.2. Styles ................................................................................................................................................................................................................................ 22
4.2.3. Banks................................................................................................................................................................................................................................ 224.3. Search Results window................................................................................................................................................. 23
4.3.1. Sorting the Preset Order....................................................................................................................................................................................... 23
4.3.2. Clearing Tags .............................................................................................................................................................................................................. 23
4.3.3. Liking Presets ............................................................................................................................................................................................................. 23

4.4. Sidebar ..................................................................................................................................................................................... 24
4.4.1. My Sound Banks ........................................................................................................................................................................................................ 24

4.5. Preset Info Section ........................................................................................................................................................... 25
4.5.1. Editing Info for Multiple Presets ...................................................................................................................................................................... 25

4.6. Preset Selection: Other Methods ............................................................................................................................. 26

5. Main Panel and Features ..................................................................................................................................... 27

5.1. Macro controls...................................................................................................................................................................... 27
5.1.1. Sound based controls............................................................................................................................................................................................... 27
5.1.2. Effects ............................................................................................................................................................................................................................... 28

6. Advanced Panel ......................................................................................................................................................... 29

6.1. Layers ....................................................................................................................................................................................... 30
6.1.1. Sampler.............................................................................................................................................................................................................................. 31
6.1.2. Synth.................................................................................................................................................................................................................................. 35
6.1.3. Amplitude Envelope .................................................................................................................................................................................................. 41
6.1.4. The Filter.......................................................................................................................................................................................................................... 42

6.2. Modulation ............................................................................................................................................................................. 46
6.2.1. LFOs ................................................................................................................................................................................................................................... 48
6.2.2. FUN AKA Function.................................................................................................................................................................................................... 49
6.2.3. RND AKA Random..................................................................................................................................................................................................... 51
6.2.4. KEYS.................................................................................................................................................................................................................................. 52

6.3. Arpeggiator............................................................................................................................................................................ 53
6.3.1. Step Controls ................................................................................................................................................................................................................ 54
6.3.2. Playback Controls.................................................................................................................................................................................................... 54

6.4. FX ................................................................................................................................................................................................. 55
6.4.1. LAYER FX ......................................................................................................................................................................................................................... 56
6.4.2. MAIN FX.......................................................................................................................................................................................................................... 65

6.5. Macros ....................................................................................................................................................................................... 72
6.5.1. SOUND ............................................................................................................................................................................................................................... 73

6.5.2. EFFECTS........................................................................................................................................................................................................................... 74

7. Software License Agreement ............................................................................................................................ 75

1. WELCOME TO AUGMENTED BRASS
Augmented BRASS will provide you with the most comprehensive brass palette for any
project. With the intuitive preset browser you'll be inspired with everything from acoustic
brass to unheard brass textures. But don't stop there, using the provided macros you canpush and tweak the presets and get excellent results, with the minimum of fuss.

1.1. Augmented BRASS sound engine
The Augmented BRASS breathes new life into the traditional sound of brass instruments. By
blending premium samples with synthesis, we transform these classic instruments, bringing
them into the modern era in terms of sound design, usability and workflow.
In Augmented BRASS, you will find outstanding Orchestral and Chamber Brass recordings,
perfect for contemporary composers and cinematic enthusiasts. Explore the authentic andabstract side of brass instruments, morphed with a variety of synth engines from Analog
to Wavetable, through Granular, Simpler and Harmonic, to ensure you have enough soundsculpting tools for any sound design. On the face of it, the interface is very simplistic, withjust a few macro controls. However, step into the "Advanced" area to fully take charge ofyour sound exploration and create complex and evocative timbres, ready for whatever yourproject needs.

1.2. Features3•

Hybrid synthesizer featuring four separate sound engines•

Each Layer can be comprised of a mixture of these engines.

•

Each Engine can contain a sample engine (Chamber Brass, Orchestral Brass,
Processed Brass, and Additional Samples) or a synth engine (Analog, Wavetable,
Granular, Simpler and Harmonic)•

You can go up to 2 synth engines, and 2 sample engines at the same time•

Blend Layers and modify various parameters using the Morph macro•

7 additional Macros giving you single knob control for Colour, Time, Movement &Morph with 4 dedicated to FX•

Two separate Multi-effects inserts per layer•

Delay & Reverb on the master bus, for overall effect

Arturia - User Manual Augmented BRASS - Welcome to Augmented BRASS

2. ACTIVATION AND FIRST START
Augmented BRASS works on computers equipped with Windows 8 or later and macOS 10.13
or later. You can use the instrument in standalone mode or as an Audio Unit, AAX, VST2, or
VST3 instrument inside your Digital Audio Workstation (DAW) software.

2.1. Activate the Augmented BRASS license
Once Augmented BRASS has been installed, the next step is to activate your license for the
instrument. This is a simple process that is done through a separate program called theArturia Software Center.

2.1.1. The Arturia Software Center (ASC)If you have not already installed the ASC, you can do so by going here: Arturia Downloads& Manuals.
Look for the Arturia Software Center at the top of the page, and then download the versionof the installer that you need for your system (macOS or Windows).
Once the software is installed:•

Launch the Arturia Software Center (ASC).

•Log into your Arturia account.

•

Scroll down to the My Products section of the ASC.

•

Click the Activate button and follow the instructions.

That’s it!

2.2. Augmented BRASS as a plug-in
Augmented BRASS comes in VST, Audio Unit (AU) and AAX plug-in formats for use in all
major DAW software such as Ableton Live, Cubase, Logic, Pro Tools, Studio One, and more.
When using Augmented BRASS as a plug-in, all audio and MIDI device settings are handled
by the host music software. Please refer to your host music software’s documentation if you
have any questions about loading or using plug-ins.
Note that when you load Augmented BRASS as a plug-in instrument inside your host
software, its interface and settings work the same way as in standalone mode, with a few
small differences:•

Augmented BRASS will synchronize to your DAW’s host tempo/bpm rate, when
tempo is a factor•

You can automate numerous parameters using your DAW’s automation system•

You can use more than one instance of Augmented BRASS in a DAW project (instandalone mode you can only launch one instance of Augmented BRASS)•

You can run the output of Augmented BRASS through any additional audio
effects available to your DAW such as delay, chorus, filters, etc.

•

You can route Augmented BRASS’s audio outputs more creatively inside yourDAW using the DAW’s own audio routing system.

Arturia - User Manual Augmented BRASS - Activation and First Start

4

2.3. Initial setup for Standalone Use
If you would like to use Augmented BRASS in standalone mode, you will need to set up
your instrument and ensure that MIDI and audio signals are flowing properly through thesoftware. You generally only need to do this one time unless you make major changes toyour computer. The setup process is the same on both Windows and macOS computers.

! This section only applies to readers that plan to use Augmented BRASS in standalone mode. If

you are only going to use Augmented BRASS as a plug-in inside a host music software, you can safely
ignore this section (your host music software handles these things).

2.3.1. Audio and MIDI settings
At the top left of Augmented BRASS is a pull-down menu. Click it to reveal the following:

Select Audio MIDI Settings to bring up the following window. Note that this menu is only
available when using Augmented BRASS in Standalone mode:

5

Arturia - User Manual Augmented BRASS - Activation and First Start

Starting from the top we have the following options:•

Device selects which audio driver and device will handle playback of Augmented
BRASS. This can be your computer’s internal driver, or an external soundcard
driver. The name of your hardware interface may appear in the field below
depending on your selection.

♪ On macOS devices, including external audio interfaces, use the built-in CoreAudio driver. The

device can be selected from the second menu.

•

Output Channels lets you select which of the available device outputs will be
used for playback. If your selected device only has one stereo output, then only
one option will appear here; If your device has more than two outputs, then you
can select a specific pair of outputs.

•

Buffer Size menu lets you select the size of the audio buffer your computer uses
to calculate sound.

♪ A larger buffer means a lower CPU load as the computer has longer periods of time to process

commands and fewer interruptions, but this can result in a noticeable latency between a key-press
and hearing a result (an obvious problem when playing an instrument). A smaller buffer means lower
latency between pressing a key and hearing the note, but a higher strain on your CPU. A fast, modern
computer should easily be able to operate at low sample buffer sizes (256 or 128 samples) without
audio glitches. However, if you do hear clicks, pops, or artifacts, try increasing the buffer size until you
have smooth playback without any glitches. The latency time is displayed in milliseconds on the righthand side of this menu.

•

Sample Rate menu lets you set the sample rate at which audio is sent out of the
instrument. The options listed here will depend on the capability of your audio
interface hardware.

♪ Virtually all audio hardware can operate at 44.1 or 48 kHz which is perfectly fine in mostapplications, including Augmented BRASS. Higher sample rates place greater loads on the CPU so werecommend staying at 44.1 or 48 kHz unless you have a specific requirement to work at high sample
rates.

•Show Control Panel button will jump to the system control panel for whateveraudio device is selected.

♪ Note that this button is only available in the Windows version.

•

Play Test Tone plays a simple test tone to help you troubleshoot audio issues. You
can use this feature to confirm that the instrument is routed correctly throughyour audio interface and audio is playing back where you expect to hear it (yourspeakers or headphones, for example).

Arturia - User Manual Augmented BRASS - Activation and First Start

6

•Your connected MIDI devices will appear in the MIDI Devices area. Note that
this is only displayed if MIDI devices are present on your computer. Click thecheck box to accept MIDI data from the device you want to use to trigger the
instrument. Note that you can select more than one MIDI device if you wish toplay Augmented BRASS from multiple controllers.

•

Tempo sets the tempo of the Augmented BRASS sequencer. When using
Augmented BRASS inside a host music software as a plug-in, the instrument gets
tempo information from your host software.

2.4. Taking Augmented BRASS for a Test Drive
Now that you have Augmented BRASS up and running, let’s take it for a quick test drive!
If you haven't done so already, launch Augmented BRASS as a plug-in or as a standalone
instrument. If you have a MIDI controller set up, use it to play some notes on Augmented
BRASS.
The up and down arrows at the top of the instrument let you step through all of Augmented
BRASS’s available presets. Try playing a few and when you find one that you like, try
adjusting some of the other on-screen controls to see how it affects the sound.
Play freely with the controls — nothing is saved unless you specifically save a preset(described later in this User Guide), so there is no chance of messing up any of Augmented
BRASS’s factory presets.
At this point, we can wrap up the installation and test drive. We hope you have gotten off
to a smooth start. The rest of this guide will help you work your way through all of theAugmented BRASS features. By the time you reach the end, we hope you’ll be using the
instrument to create fantastic music!

7

Arturia - User Manual Augmented BRASS - Activation and First Start

3. THE USER INTERFACE
This chapter will give you an idea of how Augmented BRASS is organized and where to findthings.

3.1. High-Level Overview

Augmented BRASS is neatly subdivided into three sections as shown in the illustration above.
1.

The Upper Toolbar [p.9]: This is where you handle administrative tasks such as
saving, loading and browsing presets, editing various setup and configuration
parameters, adjusting MIDI mappings and accessing the Advanced features ofAugmented BRASS. We will go over the Toolbar in the next section of this chapter.

2.

The Main Panel: This is where you access the macro controls which allow you toedit your sounds. We will go over this panel in the Main Panel And Features [p.27]
section of this guide.

3.

The Lower Toolbar [p.12]: This section provides quick access to a number ofimportant parameters and useful bits of information such as polyphony settings,
Undo & Redo History, and CPU usage. We will go over the Lower Toolbar at theend of this chapter.

Arturia - User Manual Augmented BRASS - The User Interface

83.2. The Upper Toolbar

The toolbar that runs along the top of the instrument provides access to many usefulfeatures including the Augmented BRASS menu, preset browsing features, various MIDI
mapping and dive into the depths of the engine with the Advanced features.

3.2.1. The Augmented BRASS menu
Clicking the Augmented BRASS box at the top-left corner opens a pull-down menu and lets
you access nine important features.

9•

New Preset: This option creates a new preset with default settings on allparameters. It is a good place to start if you would like to create a new soundfrom scratch.

•

Save Preset: This option will overwrite the currently loaded preset with any
changes you have made. If you would like to save the current preset under adifferent name, use the "Save As…" option below.

•

Save Preset As… This lets you save your preset under a different name. Clicking
this option reveals a window where you can name your preset and enter
information about it.

Arturia - User Manual Augmented BRASS - The User Interface♪ Arturia's powerful browsing system lets you save much more than just a preset name. For

example, you can enter the Author's name, select a Bank and Type, select tags that describe the sound,and even create your own Bank, Type, and Characteristics. This information can be read by the preset
browser and is useful for searching the presets banks later. You can even enter freeform text commentsin the Comments field, which is handy for providing a more detailed description of a sound. This canhelp you remember a sound or to provide context to other Augmented BRASS users with which you arecollaborating.

•Import: This command lets you import a preset file, which can be either a single
preset or an entire bank of presets.

•

Export Menu: You can export presets in two ways: as a single preset or as a bank.

•



◦

Export Preset: Exporting a single preset is handy when you want toshare a preset with someone else. The default path to these files willappear in the "save" window, but you can create a folder at anotherlocation if you like. The saved preset can be reloaded using the Import
Preset menu option.

◦

Export Bank: This option can be used to export an entire bank ofsounds from the instrument, which is useful for backing up or sharing
presets. Saved banks can be reloaded using the Import Preset menu
option.

Resize Window: The Augmented BRASS window can be resized from 50% to200% of its original size without any visual artifacts. On a smaller screen suchas a laptop you may wish to reduce the interface size so it doesn’t dominate thedisplay. On a larger screen or a second monitor you can increase the size to geta better view of the controls. The controls work the same at any zoom level but
smaller controls can be easier to see at higher magnification levels.

♪ While working with Augmented BRASS, you can also use the keyboard shortcuts Ctrl & +/- (or Cmd& +/-) to quickly adjust the window size. Note that in some DAWs, the same key commands may be
used for zoom. In this case, the DAW takes priority.

•



Audio MIDI Settings (only available in stand-alone mode): Here you manage theway the instrument transmits audio and receives MIDI. See the section Audioand MIDI settings for more information about this topic.

! The Audio MIDI Settings menu is only available in when using Augmented BRASS in Standalone

mode. When using Augmented BRASS as a plugin, the host software handles all of the parameters inthis menu including audio and MIDI routing, buffer size settings, and more.

•

Tutorials: Augmented BRASS comes with tutorials that walk you through different
features of the instrument. Select one of the tutorials to get step-by-step
descriptions of how to make the most of the Augmented BRASS features.

•

Help: This section provides handy links to the Augmented BRASS User Guide andthe Augmented BRASS Frequently Asked Questions page on Arturia’s website.
Note that accessing these pages will require an Internet connection.

•

About: Here you can view the Augmented BRASS software version and developercredits. Click the About window again to close it.

Arturia - User Manual Augmented BRASS - The User Interface10

3.2.2. Browsing Presets
Augmented BRASS comes with lots of great-sounding factory presets. To help you searchthrough large numbers of presets, we have a powerful preset browser with a number offeatures to help you find sounds quickly.

The browsing features of the Toolbar (shown above) include the following:1.

The Preset Browser Button (four-lines icon) opens and closes the preset browser.
This is covered in detail in the next chapter, The Preset Browser [p.19].

2.

The Preset Filter Choose between "All Presets" or select one of the categories
pictured. You can filter in a more granular way using the Preset Browser,
explained later.

3.

The Preset Name is listed next in the toolbar. Clicking on the name reveals a pulldown menu with other available presets. Click on any name to load that presetor click away from the menu to close it.

4.

The Arrow icons select the previous or next preset in the filtered list. This is thesame as clicking on the preset name and selecting the next option in the list, butdoes it with only one click.

♪: The Previous and Next arrows can be MIDI mapped. This means you can use buttons on your

MIDI Controller to easily step through the available presets without having to use the mouse at all.

11

Arturia - User Manual Augmented BRASS - The User Interface

3.2.3. Advanced panel button

Clicking "Advanced" lifts the hood of Augmented BRASS and allows us to delve deeper into
the sound and design of our patches. You can learn more in the dedicated chapter [p.29].

3.2.4. Side Panel Settings

At the far right of the Toolbar, a gear-shaped icon opens up a panel on the right side,
containing three tabs:•

Settings: Global settings (MIDI receive channel) and Preset settings including
number of polyphonic voices, voice assign, bend range, glide time & mode andMPE settings.

•

MIDI: MIDI Learn functions for use with external controllers.

•

Tutorials: In-app interactive tutorials, also accessed from the main menu.

These topics are covered in the Side Panel [p.13] section later in this chapter.

3.3. The Lower Toolbar
The Lower Toolbar runs along the bottom of the Augmented BRASS user interface andprovides quick access to several important parameters and useful bits of information.

•

1. Parameter Name: Displays the name of the parameter as you adjust or hoveron controls. The current value of the control is listed in a tool tip that appears next
to the control.

•

2. Undo/Redo: Keeps track of your edits and changes.

•◦

Undo (left arrow): Undoes the last change in Augmented BRASS.

◦

Redo (right arrow): Redoes the last change in Augmented BRASS.

◦

Undo History (center menu icon): Displays a list of recent changes.
Click on a change to restore the patch to that state. This can be usefulin the event you happened to go too far in your sound design andwant to revert to an earlier version.

3. CPU Meter and Panic Button: Displays the current CPU usage of the
instrument. Clicking on the CPU will send a MIDI panic, silencing all notes
resetting MIDI signals in the event of stuck notes or other issues.

Arturia - User Manual Augmented BRASS - The User Interface

123.4. The Side Panel
The icon shaped like a gear at the upper right corner accesses global MIDI channel settings,
a powerful MIDI Learn mode and Tutorials.

3.4.1. Settings Tab
Click Settings to access global settings like MIDI channel and MPE (MIDI Polyphonic
Expression).

Global Settings•

MIDI Channel: Selects the MIDI channel(s) on which Augmented BRASS will
receive MIDI input. You can select ALL (omni) or channels 1-16.

Preset Settings

13•

Polyphony Select monophonic all the way to 32 note polyphony•

Voice Steal Choose Reassign or Rotate mode•

Bend Mode Select range from 1 semitone all the way up to 3 octaves.

•

Glide time Choose your Glide time, up to 10 seconds•

Glide mode Select Portamento or Legato for your glide type.

Arturia - User Manual Augmented BRASS - The User Interface

MIDI Polyphonic Expression: Augmented BRASS supports MIDI Polyphonic Expression(MPE). This exciting addition to the MIDI protocol allows a multi-dimensional controller tosend polyphonic expressive controls (like pitch-bend, aftertouch, or your finger location on
the Y axis of a key) on a per-note basis. This is done by using separate MIDI Channels tocarry each note's expressive data separately, that can then be parsed by synthesizers like
Augmented BRASS. When MPE is enabled, modulation is displayed in the strip at the bottomof the "Advanced" panel, in the keyboard modulation settings.
The controls in the above menu let you set the following:•

Enable MPE: Turns MIDI Polyphonic Expression mode on and off.

•

Zone: If an MPE-capable controller can be split into lower and upper zones, thisselects which zone sends the MPE messages.

•

No. Channels: Sets the maximum number of MIDI sidechannels (and therefore
simultaneous notes) on which MPE messages may be sent.

•

Bend Range: Sets the maximum pitch bend range of each note, up to 96
semitones (48 by default). This should be set to the same value as what is usedon your hardware MPE controller.

•

Slide CC: Select the MIDI CC number used to send the slide information. Bydefault, this is 74 but you can change it. Note that when MPE is enabled, all thecontrols that listen to the selected CC will no longer receive it

Arturia - User Manual Augmented BRASS - The User Interface

14

3.4.2. MIDI Tab
This is where Augmented BRASS may be placed in MIDI Learn mode. In this mode, all MIDIassignable parameters are highlighted and you can map physical controls on your MIDI
Controller to them. A typical example might be to map a mod wheel to the Vibrato, or aphysical knob on the MIDI controller to control any of the other macro knobs.

15

Arturia - User Manual Augmented BRASS - The User Interface

3.4.2.1. Assigning and Unassigning Controls
Click the Learn button in the MIDI tab to put Augmented BRASS into Learn mode. Controls
available for assignment are purple. Controls that are already assigned are red.(You can reassign them, though.)

Click any purple control and its name will appear in the list. Now, move a control or operate
a switch on your MIDI controller. The corresponding control onscreen will turn red and theassigned MIDI CC number will appear in the list to the left of the parameter name.
To unassign a control onscreen, control-click or right-click it. Alternative methods ofassignment are available in the MIDI Parameter Menu [p.16] described below.
This is an incredibly powerful feature as any function from the Advanced Panel can be
assigned MIDI control. Just follow the same procedure as above or simply right click "Addcontrol" at the bottom of the MIDI tab to reveal the list of assignable controls.

3.4.2.2. Min and Max Values
The Min and Max value columns for each parameter in the list let you scale the amountby which a parameter in Augmented BRASS changes in response to a physical control
movement. For example, you may wish to limit the range of a filter sweep even though
you’re probably going to turn the knob all the way in live performance.
Drag up or down on a value to change it. Values are expressed as decimal fractions fromzero to 1. It is possible to set the maximum lower than the minimum. This reverses thepolarity of the physical controller; i.e. turning it up will turn the assigned parameter down.
In the case of switches which only have two positions (On or Off, etc.), those would normallybe assigned to buttons on your controller. But it is possible to toggle those with a fader oranother control if you like.

3.4.2.3. MIDI Parameter Menu
Control-clicking or right-clicking on any item in the list of assigned parameters brings up aconvenient menu with the following options, which can be different for each parameter.

Arturia - User Manual Augmented BRASS - The User Interface

16•

Absolute: The assigned parameter in Augmented BRASS tracks the literal value
your physical controller is sending out.

•

Relative: The assigned parameter in Augmented BRASS will go up or down fromits current value in response to physical controller movements. This is often
useful when using endless 360-degree encoders that don’t have physical motion
limits.

•Delete: Removes the assignment and turns the corresponding onscreen control
purple again.

•

Change Parameter: Brings up a large sub-menu of every assignable parameterin Augmented BRASS. This lets you change the assignment of the current CC/
physical control manually and is useful when you know exactly the destination
you’re looking for.

3.4.2.4. MIDI Controller Menu

At the top right of the MIDI tab is a drop-down menu where you can select templates
for many Arturia MIDI controllers. These map physical controls to many “most wanted”
parameters in Augmented BRASS for a plug-and-play experience. A Generic template is also
provided for third-party MIDI controllers.

17

Arturia - User Manual Augmented BRASS - The User Interface

3.4.2.5. MIDI Config Menu

Another drop-down lets you manage different sets of MIDI maps for controlling Augmented
BRASS from MIDI hardware. You can save/save as the current MIDI assignment setup,
delete it, import a configuration file, or export the currently active one.
This is a quick way to set up different hardware MIDI keyboards or controllers with
Augmented BRASS without having to build all the assignments from scratch each time you
swap hardware.
For example, if you have multiple hardware controllers (small live keyboard, large studio
keyboard, pad controller, etc.), you can create a profile for each of them one time and thenquickly load it here. This saves you from having to redo the MIDI mapping assignmentsfrom scratch each time you swap hardware.
Two options in this menu are especially powerful:•

Default: Gives you a starting point with predetermined controller assignments.

•

Empty: Removes the assignments of all controls.

3.4.3. Tutorials Tab
In this tab, which can also be opened by selecting Tutorials from the Main Menu [p.9], you
can click on titles for the individual chapters, which in turn will take you through different
areas of Augmented BRASS in steps. The parts of the panel to focus on are highlighted as
you go.

! If you’re editing a Preset, make sure to save it before opening the Tutorials because doing so will

load a new Preset and overwrite your changes. The Tutorials also take over the Side Panel space whenin use.

Arturia - User Manual Augmented BRASS - The User Interface18

4. THE PRESET BROWSER
The preset browser is how you search, load and manage sounds in Augmented BRASS. It
has a couple of different views but they all access the same banks of presets.
To access the search view, click on the browser button (the icon looks a bit like books on alibrary shelf).

Number1.

19

Area
Search and Results[p.20]

2.

Sidebar [p.24]

3.

Preset Info [p.25]

Description
Search presets with text strings, and by tags for Type and Style.
Manage banks and Playlists.
Summary of Bank and Tags, Designer name, and description info for
current Preset.

Arturia - User Manual Augmented BRASS - The Preset Browser

4.1. Search and Results
Click on the Search field at the top and enter any search term. The browser will filter yoursearch in two ways: First, by matching letters in the Preset name. Then, if your search termis close to that of a Type or Style [p.21] it will include results fitting those tags as well.
The Results list beneath shows all Presets that fit your search. Click the X icon at right toclear your search terms.

Filter by typing text in the Search field

Arturia - User Manual Augmented BRASS - The Preset Browser

204.2. Using Tags as a Filter
You can narrow (and sometimes expand) your search using different tags. There are twokinds of tags: Types and Styles. You can filter by one, the other, or both.

4.2.1. Types
Types are categories of instruments and musical roles: Bass, Keys, Lead, Pad, Brass &Winds, and more. With a clear search bar, click the Types button to bring up a list of types.
Notice that each type also has several sub-types:

Click any one of them, and the results will show only Presets that match that tag. You canalso select multiple Types using Cmd-click (macOS) or Ctrl-click (Windows). For example, if
you aren't sure whether the preset you're looking for was tagged with Keys or Pad, selectboth to broaden the search.
Results columns can be inverted by clicking the arrow buttons to the right of their titles(Name, Type, Designer).

21

Arturia - User Manual Augmented BRASS - The Preset Browser

4.2.2. Styles
Styles refine your search according to further musical attributes. Accessed by the Styles
button, this area has three further subdivisions:•

Genres: Identifiable musical
Synthwave, Funk, etc.

•

Styles: General “vibe” such as Atmospheric, Dirty, Clean, Complex, Mellow, etc.

•

Characteristics: Sonic attributes such as Analog, Evolving, Distorted, Dry, Rise, etc.

genressuchasdecades,

Trance,Techno,Click on any tag to select it. Click again (or right-click) on any selected tag to de-select it.
Notice that when you select a tag, several other tags usually disappear. This is because thebrowser is narrowing your search by a process of elimination. De-select any tag to removethat criterion and widen the search without having to start all over again.

4.2.3. Banks
Next to the Types and Styles buttons is the Banks button, which lets you do your search(using all the methods above) within the factory bank or user banks.

Arturia - User Manual Augmented BRASS - The Preset Browser

224.3. Search Results window
Click the Show Results button if you cannot already see your list of results. Click the sort
arrow to reverse the alphabetical order of any column.

4.3.1. Sorting the Preset Order
Click the NAME header in first column of the Results list to sort Presets in ascending ordescending alphabetical order.
Click the TYPE header in the second column to do the same thing by Type.
Click the Arturia logo to the left of TYPE to bring factory-featured Presets to the top of thelist. These will appear just under any Presets you have liked [p.23].
The third column has two header options: DESIGNER and BANK. Click the icon with threelines to choose between the two. Then click either header name as with the other twocolumns to switch the alphabetical order.

4.3.2. Clearing Tags
Just below the Types, Styles, and Banks buttons, you will see labels for all the active tags ina search. Click the X next to anyone to remove it (and thus broaden the results). Click Clear
ALL to remove all tags.

4.3.3. Liking Presets
As you explore and create Presets you can mark them as Liked by clicking the heart next totheir names. Later, click on the heart icon to put all of your favorites at the top of the Results
list.

23

Arturia - User Manual Augmented BRASS - The Preset Browser

Use as many of the sorting and filtering features as you need and you will find the exact
sound you want every time.

4.4. Sidebar
The leftmost section of the Preset Browser determines what is displayed in the Search andResults [p.20] section.
The topmost option is:

The Explore section is the default, letting you search the current bank of Presets loaded into
Augmented BRASS as we did in the previous section.

4.4.1. My Sound BanksThis enables you to choose from the Factory and User banks currently available inAugmented BRASS. Any Future Banks you acquire will appear here.

Arturia - User Manual Augmented BRASS - The Preset Browser

24•

Liked: Presets you have liked using the heart icon. This appears at left when you
mouse over any item in a results list.

•

Colour codes: Select from up to 7 colors to assign to any preset, favorite orotherwise. This then allows for quick filtering of your presets.

4.5. Preset Info Section
The right side of the browser window shows specific information about each Preset. The
information for User Presets (but not Factory ones) may be changed here: Name, Type,
Favorite, etc.

To make the desired changes, you can type in the text fields, use one of the pull-downmenus to change the Bank or Type, and click the + sign to add or delete Styles.
Types and Styles changes you make here are reflected in searches. For example, if you
remove the “Cinematic” Genres tag and then save that Preset, it will not show up in future
searches for Cinematic sounds.

4.5.1. Editing Info for Multiple Presets
If you'd like to move several Presets to a different bank while preparing for a performance,or enter a single comment for several presets at the same time, it's easy to do. Simply
hold command (macOS) or ctrl (Windows) and click the names of the Presets you want tochange in the Results list. Then enter the comments, change the Bank or Type, etc., and savethe preset. By using the 3 vertical dots on the top right hand, you can also assign these oneof the color codes or create/add to a playlist.

25

Arturia - User Manual Augmented BRASS - The Preset Browser♪ If you want to alter the information for a Factory Preset you must first use the Save As command

to re-save it as a User Preset. After this the Info section will gain Edit and Delete buttons at the bottomof the window.

4.6. Preset Selection: Other Methods
Click on the Preset name in the center of the upper tool bar to bring up a drop-down menu.
The first option in this menu is All Presets, and it brings up a submenu of literally every
Preset in the current bank.

“All Presets” in the drop-down menu, ignores any and all search criteria. And for the Typechoices below the line, they always include all Presets for that Type.

Arturia - User Manual Augmented BRASS - The Preset Browser

26

5. MAIN PANEL AND FEATURESThe Main Page
On the Main Panel, Augmented BRASS has a very simple layout with eight macro knobs.
Seven knobs surround an eighth, oversized Morph control. These allow you to make changes
to the sound very simply. You can also access the deeper programming functions ofAugmented BRASS by clicking Advanced in the upper Toolbar. This is covered in detail in thenext chapter Advanced Panel [p.29]
Of the 8 controls, half of the macros directly pertain to effects, whilst the remaining aredesigned to adjust various aspects of the sound. All macros have the capacity to adjust
several parameters at once.

5.1. Macro controls
5.1.1. Sound based controls

27•

Morph This oversized control allows you to morph between Layer A and Layer B.

•

Color This macro affects the color and harmonic content of the sound. Thismeans the sound engine and filter parameters, of each layer. Select up to 6
destinations to change the texture of your sound.

•

Time Changes the timing of the preset. Select up to 6 destinations to change theenvelope parameters of each layer.

•

Motion This macro allows you to add movement to your sound. Assign up to 6
parameters from the Modulation and Arpeggiator Tabs.

Arturia - User Manual Augmented BRASS - Main Panel and Features

5.1.2. Effects
With these Macro controls you can adjust the amount of effect added to your sound. Choose
up to 4 parameters for each effect macro.
•

FXA This adjusts various parameters linked to the insert effect, directly effecting
Layer A.

•FXB This adjusts various parameters linked to the insert effect, directly effecting
Layer B.

•

Delay Add movement to your sound with delay. This macro can control any
effect parameter including the amount of wet/dry mix. Delay is an insert effecton the Master bus and the first FX in the chain.

•

Reverb Add space to your sound with reverb. This macro can control any effectparameter including the amount of wet/dry mix. Reverb is an insert effect on the
Master bus. Reverb follows Delay in the FX chain.

Arturia - User Manual Augmented BRASS - Main Panel and Features28

6. ADVANCED PANEL
Clicking "Advanced" lifts the hood of Augmented BRASS and allows us to delve deeper into
the sound and design of our patches.

The Advanced Page
This panel can be divided into 3 parts:•

1: The navigation menu lets you navigate through the individual Advanced pages,
titled Layers, Modulation, Arpeggiator, Effects, and Macros.

•

2: Displayed here is each page as selected from the navigation section.

•

3: Permanent visual display of Modulation, and Macro settings. You can also use
this to assign destinations to modulators and modify the amount sent to them.

Also note, that whilst in Advanced mode, controls for the sound macros appear in the lower
toolbar.
At the top you can access 5 separate sections by clicking on the text.

29•

Layers [p.30] deals with the layer content, including engine selection and all
associated parameters. Here you will find your VCA, Filter and envelope for each
Layer.

•

Modulation [p.46]: access all the modulation options available•

Arpeggiator [p.53]: modify your arpeggio sequence of up to 16 steps•

Effects [p.55]: access FX A and FX B, select up to 2 effects per slot plus
parameters for the master effect, Delay & Reverb.

•

Macros [p.72]: The 4 macro controls of Colour, Time, Movement & Morph, plus theEffects Macro : FX A, FX B, Delay, Reverb.

Arturia - User Manual Augmented BRASS - Advanced PanelAs you can see the instrument is split down the middle, with each Layer being freely
assignable to either Engine. There are 2 engines to choose from: sample engine or synth
engine. In the sample engine, you can select from Chamber Brass, Orchestral Brass,
Processed Brass, and Additional Samples. In the synth engine, you can select from Analog,
Granular, Harmonic, Simpler and Wavetable. Further to this you can add a second engine
per Layer, also assignable from multisample or synth. This makes Augmented BRASS a truly
flexible and powerful instrument.

6.1. Layers
Here lies the beating heart of Augmented BRASS. Both Layers have 2 slots which allow you
to add any combination of the two sound engines.

Augmented BRASS's display lets you see the type of engine selected (Sampler or Synth), its sub-type(e.g., Chamber Brass, Orchestral Brass, Simpler, or Harmonic), and the specific sample/synth selected.

Each Layer also has global volume and individual pan controls at the top, plus multiple filter
types, below.

Each part of a layer can be panned independently from the other.



If you want the output panning of part 1 and part 2 to be the same, you can link the two parts byclicking on the link symbol found in between Pan A1 and A2.

Arturia - User Manual Augmented BRASS - Advanced Panel30

6.1.1. Sampler
This Engine is dedicated to sampled sound and contains beautifully multisampled sounds.

Select your Sample
You can choose from real Chamber Brass, Orchestral Brass, Processed Brass, andAdditional samples.

31

Arturia - User Manual Augmented BRASS - Advanced Panel6.1.1.1. Common controls
You have common controls for each of the sample type.

•

Volume: Controls the overall level of the samples•

Tuning: Lets you choose between Coarse and Kbd Offset.

Selecting Coarse in the Tuning Mode lets you pitch the sample by intervals of 1 semitone,
with a comprehensive range going from -24 semitones to +24 semitones.
Selecting Kbd Offset lets you shift the keyboard to playback in a different range, with a set
a discrete values.



The visual feedback we have implemented to display the range of each articulation dynamicallychanges based on the value you've chosen for Kbd Offset.

•

Fine: Adjusts the Part’s pitch in cents.

Arturia - User Manual Augmented BRASS - Advanced Panel

32

6.1.1.2. Specific controls

For Processed Brass samples and Additional Samples, you have two specific controls:•

Rand Start: Sets a random start point for the sample.

•

Width: Sets the stereo width of the sound.

Tip: Use these two parameters, and try out different values, to breathe life into the samples, and give

your sound a lot of character.

33

Arturia - User Manual Augmented BRASS - Advanced PanelTwo distinct microphone positions were used to record the Chamber and Orchestral Brasssamples: close and far.
As a result, they have three specific controls:•

Width Clos: Adjusts the stereo width of the close mic sample.

•

Width Far: Adjusts the stereo width of the far mic sample.

•

Mix: Blends between close mic and far mic recordings.

Tip: Play around with the mic positions and the width controls to give a new dimension to yoursound.

Arturia - User Manual Augmented BRASS - Advanced Panel34

6.1.2. SynthThis Engine is dedicated to synthesized sound and offers 5 separate engines to help
augment your wonderful multisampled brass sounds. You have the option of Analog,
Granular, Harmonic, Simpler and Wavetable.

6.1.2.1. Analogue Synthesizer

Analogue Synthesizer
If there's anything Arturia knows how to do well, it is to emulate the characteristics andbehavior of the most beloved analog synthesizers of all time. The analogue engine in
Augmented BRASS gives you all of the flavor and none of the fuss.

35•

OSC 1, 2 & 3: Oscillator Waveform, switchable between sine, triangle, saw,
inverse saw and square.

•

OSC 2 & 3 Level: Controls the individual levels of the oscillators.

•

Noise: Adjusts the amount of the noise generator.

•

FM: Set the amount of modulation coming from a source oscillator, affecting thefrequency of VCO1 and/ or VCO2.

•

Detune: Sets the amount of detune between unison voices.

•

Coarse: Adjusts the tuning of the oscillators in semitones, 2 octaves up or down•

Fine: Allows fine-tuning of the oscillators in cents.

•

Volume: Adjusts the output Volume of the overall sound

Arturia - User Manual Augmented BRASS - Advanced Panel6.1.2.2. Granular Synthesizer

Granular Synthesizer
Granular synthesis works by taking a small piece of a sample, called a grain, andmanipulates it to create complex textures. The viewer window displays 6 sample slots as
the basis for your sound.
•Start: Determines the point at which the grain begins playback when triggered.

•

Density: Sets how often grains are generated. Use the drop-down menu to
specify whether the grain generation rate is tied to cycles per second (Hertz) or
tempo-synced values (straight, dotted or triplets).

•

Size: Determines the size of each grain. The drop-down menu lets you selectbetween Time (1ms to one second), tempo synchronized time (straight, triplets or
dotted) or by ratio (a division of the current Density value that was calculated forthe grain).

•

Env Shape: Sets a window that alters the attack and release characteristics ofthe grains, which can produce results from “smooth” to “clicky.”•Grain FX: Adds Frequency Modulation to the pitch of the grains•

Coarse: Adjusts the tuning of the sample in semitones, 2 octaves up or down•

Fine: Allows fine-tuning of the oscillators in cents.

•

Volume: Adjusts the output Volume of the overall sound

Arturia - User Manual Augmented BRASS - Advanced Panel36

6.1.2.3. Harmonic Synthesizer

Harmonic Synthesizer
Much of traditional synthesis is subtractive. That is, you start with a complex waveform fullof harmonics and then filter out what you don’t want. Additive synthesis is the opposite: You
add up individual sine waves (a pure sine wave has no harmonics) until you have a precise
harmonic profile. The resulting spectrum is displayed in the viewer at the top center of theengine, with controls below it. Augmented BRASS lets you control a series of harmonics via
just a handful of settings.

37•

FM: Set the amount of modulation coming from a source oscillator to thefundamental frequency of the harmonic oscillator leading to modulate all theharmonic series.

•

Section: Sets a “window” in the harmonic series, which those spectral filters
affect.

•Morph: Not to be confused with the main Morph knob, this crossfades between
2 factory-programmed spectral filters that boost and cut parts of the harmonicseries.

•Parity: This changes the proportion of odd-numbered and even-numberedmultiples in the partial series. You can have all odds, all evens, or any mix in
between.

•Partials: This control sets the number of partials in the harmonic series.

•

Coarse: Adjusts the tuning of the sound in semitones, 2 octaves up or down•

Fine: Allows fine-tuning of the sound in cents.

•

Volume: Adjusts the output Volume of the overall sound

Arturia - User Manual Augmented BRASS - Advanced Panel6.1.2.4. Simpler (Sample engine)

Simpler Synthesizer
The simpler engine is a simple sample engine that enables interesting textures, and gives a
lot of character to the sound. Its samples are organized in the following categories for yourconvenience: Drone, Field, Foley, Impact, Noise, Pad, and SFX.
For this engine, Augmented BRASS is displaying a very interactive visualizer for you to adjust
the presets, and many parameters specific to the Simpler engine.

We'll start with the visualizer and the 3 buttons situated above it:•

Key: When "Key" is disabled, the keyboard will trigger samples without pitch
shifting the sample. With "Key" enabled, the sample is played back and pitched
up and down based on what key is pressed. This option is global, and affects thedifferent sample slots of the preset.

•

Snap: Allows you to reach zero crossing points when dragging the sample
markers. This option is global, and affects the different sample slots of the preset.

•

Loop: Makes the sample loop, and gives you access to two additionalparameters, and to the two loop markers.

Arturia - User Manual Augmented BRASS - Advanced Panel38

On the visualizer, you can easily change the start and end position of the play head bymoving the vertical markers with the arrows on top. Likewise, when Loop is ON, you caneasily change the start and end position of the loop head by moving the vertical markers
with the arrows at the bottom.

Here are all the parameters available in the Simpler engine:

39•

Start: Sets the sample start position based on the Play head start position.

•

Play Dir (direction): Lets you choose between Normal and Reverse. Whenselecting Reverse, the sample will play backwards.

•

Loop Dir (direction): Lets you choose between Forward and Backward & Forward.
When selecting Backward & Forward, the section of sample in between the twoloop heads will simply be played back and forth.

•

Loop Fade: Sets the crossfade of the loop, and can be seen on the visualizer.

•

FM: Sets the amount of FM Modulation, just like in the Granular Engine.

•

Coarse: Sets the global tuning of all samples in semitones.

•

Fine: Sets the global tuning of all samples in cents.

•

Volume: Sets the output volume of the Simpler engine.

Arturia - User Manual Augmented BRASS - Advanced Panel6.1.2.5. Wavetable Synthesizer

Wavetable Synthesizer
Wavetable synthesis offers a lot of interesting options which an ordinary oscillator cannot
provide. Each wave table is made up of individual waves chained together. Through realtime knob movements, macros or modulation, it can shift its wave shapes and thus
harmonic content to great effect.
The Wavetable engine type contains a window that shows the wavetables in two or three
dimensions. A small button in the upper right corner toggles the view.
•

Position: Scan through the different waves included in the currently selected
wavetable. This can also be selected by dragging the wavetable in the viewer
window. It may be helpful to switch between the 2D and 3D renderings of the
waveforms to gain an overview of the options.

•

FM: Adds Frequency Modulation to the wavetable.

•

Phase Distortion: Phase distortion is a method of warping a source waveform bya modulator wave. As the Amount is increased the amplitude positions within thesource wave are shifted in time, creating a warping of the sound.

•Wavefolding: This “folds” over the “peaks and valleys” of both the positive andnegative phase of the wave. This adds additional harmonics, use this to create
increasingly complex, unique waveforms.

•

Detune: Sets the amount of detune between unison voices.

•

Coarse: Adjusts the tuning of the wavetable in semitones, 2 octaves up or down•

Fine: Allows fine-tuning of the wavetable in cents.

•

Volume: Adjusts the output Volume of the overall sound

Arturia - User Manual Augmented BRASS - Advanced Panel40

6.1.3. Amplitude Envelope

Adjust your envelope
Each of the 4 parts in Augmented BRASS have an envelope to control the amplitude ofeach of the sounds. This envelope will help you sculpt the 'shape' of the sound affecting thevolume from the moment you hit a key. This envelop can be adjusted by either using thelabelled controls or by grabbing a point on the graph with your mouse.
The Envelope controls are as follows:•

Attack: Sets the duration of the Attack stage of the Envelope.

•

Decay: Adjusts the time of the Decay stage of the Envelope.

•Sustain: Controls the amplitude of the Sustain stage of the Envelope. When
holding a note, the envelope will settle into this stage for as long as the note isheld, after the initial Attack and Decay stages complete.

•

Release: Sets the duration of the Release stage of the Envelope, which describes
how long it will take for volume to decrease to silence once a key has beenreleased.

•

Att Curve: Adjust the slope curve of the Attack from linear to exponential or
logarithmic.

•

Dec Curve: Adjust the slope curve of the Decay from linear to exponential or
logarithmic.

•

Time Mult: Multiplies or reduces the overall run time of the envelope.

•

Vel>Time: Adjusts the sensitivity of the attack stage based on playing velocity— when this is turned up harder velocity results in a shorter attack and softer
velocity results in a longer attack.

The Link icon within the ADSR controls, links the Decay-Release function of the envelope.

41

Arturia - User Manual Augmented BRASS - Advanced Panel6.1.4. The Filter

The Filter Settings
This section contains the filter controls, which are responsible for sculpting the frequency
spectrum and timbre of the sound. Both Layers have their own separate Filter which directly
affects each Layers 'stacked' sound.

6.1.4.1. The filter types:
Augmented BRASS is equipped with 6 different filter types. From a classic SEM filter to a
multimode, on to Surgeon, Comb, Phaser and Formant. The first 3 models are switchable
between low pass, notch, band-pass & high pass. This function can also be turned disabled.
SEM

Based on the famous Oberheim SEM Filter. This 12db/oct filter can be used as a low pass,notch, band-pass or high pass type•

Cutoff: Sets the filter cut-off frequency, tuned between 20 Hz and 20,000 Hz•

Resonance: Sets the filter resonance or emphasis of the filter•

Env Amt: Adjusts the response of the filter to its own envelope

Arturia - User Manual Augmented BRASS - Advanced Panel

42

MultimodeThis 24db/oct analog filter model is unique to Arturia and can be used as a low pass, notch,
band-pass or high pass type.
•

Cutoff: Sets the filter cut-off frequency, tuned between 20 Hz and 20,000 Hz•

Resonance: Sets the filter resonance•

Env Amt: Adjusts the response of the filter to its own envelope
SurgeonThis is an extremely steep filter (64 dB/octave) with several Modes available.

43•

Cutoff: Sets the filter cut-off frequency, tuned between 20 Hz and 20,000 Hz•

Spread: Controls the width and depth of the affected zone available when in
Notch or Bandpass Mode.

•

Env Amt: Sets the amount of effect the envelope has on the filter

Arturia - User Manual Augmented BRASS - Advanced PanelComb

A comb filter is created by adding a delayed version of the input signal to itself, which
results in a series of reinforced and cancelled harmonics. The Comb filter also includes a
feedback loop.
•

Frequency: Sets the frequency range of the peaks and notches.

•

Gain: Emphasizes the strength of the peaks and notches.

•

Env Amt: Adjusts the response of the filter to its own envelope.

•Feedback/ Feedforward: Selects whether the delayed signal is fed back into the
comb filter’s input or forward into its output.
PhaserThis filter is based upon an audio effect that has made frequent appearances in popular
music since the 1960s. It is similar to a comb filter in that it uses a series of harmonic peaks
and notches to process the input signal, with the additional step of putting the peaks-andnotches signal out of phase with the original. The result is a shifting, sweeping, or warbling
effect that this Step is designed to bring out.
•

Cutoff: Sets the frequency range of the peaks and notches•

Feedback: Emphasizes the strength of the peaks and notches•

Env Amt: Adjusts the response of the filter to its own envelope•

Poles (Radio buttons): Select the number of peaks, or poles to be used: 4, 6 or 8

Arturia - User Manual Augmented BRASS - Advanced Panel44Formant

Arguably the most powerful filter in existence is the human speech apparatus. The Formant
filter allows you to generate and modify a wide range of "vowel" sounds and then apply
them to the input signal.

45•

Freq Shift: Sets the frequency range of the formant effect•

Q: Emphasizes the strength of the resonant peaks•

Morph: Shifts between different vowel sounds.

Arturia - User Manual Augmented BRASS - Advanced Panel6.2. Modulation

Modulation page
Augmented BRASS offers a huge amount of modulation options. These can be seen in thehorizontal strip below every page in the Advanced section of Augmented BRASS. Not only dothey act as a visual display of what each source is doing in real time, but also allow accessto the modulation routing.

Modulation Strip
Clicking on each pane on the Modulation strip opens the associated modulation slots. For
example clicking on LFO 1 reveals the four slots available for that LFO, usually found within
the Modulation panel.
This works by selecting the Macro or Modulator you wish to use, then drag a relevant knob
to assign. You will find text helpful for explaining exactly what you can modulate.
You can also hover a parameter, and a + symbol will appear.

By clicking on it, you'll be able to assign this parameter to the different modulation sources
found in the modulation strip.

Arturia - User Manual Augmented BRASS - Advanced Panel46



When hovering a parameter, you can easily know the modulation routings you've created thanks to

the visual display. A modulation source is light grey when a parameter value has been assigned, anddark grey when no modulation routing has been created.

In addition to this you have a separate Vibrato and Tremolo effect which can be freely
assigned to each part of Layer A and layer B.

47

Arturia - User Manual Augmented BRASS - Advanced Panel6.2.1. LFOs

Low Frequency Oscillator
The LFOs or Low Frequency Oscillators in Augmented BRASS are our standard modulators
based around a repeating waveform. They are freely assignable to many destinations andcan be clocked to MIDI to enable a perfectly synced performance. Below are the options
shared by both LFOs.
•

Unipolar: When engaged, LFO sends only positive output values. For example, if
we assign LFO in unipolar mode to filter cutoff and set an amount of 50%, youwill have an offset of 50% from the original value.

•

Polyphonic: When active, each voice of polyphony gets its own LFO cycle. This
option is not available when LFO is in free running mode.

•

Play Modes:◦ Env: LFO plays through its cycle once when a key is pressed. When
legato is enabled the LFO is not retriggered, e.g. when 1 voice is held
and another played.
◦

LFO: LFO plays through constantly, looping to the beginning when it
reaches the end.

◦

Key Trig: LFO plays through constantly but returns to the beginning of
its cycle every time a key is pressed.

•

Shape: Sets the waveform shape of the LFO.

•

Rate: Sets the LFO speed.
◦ Rate Sync: Drop-down menu selects whether the Rate is expressed in
Hz (free-running) or syncs to tempo with “straight,” dotted, and triplet
options for sync type.

•

Fade: Applies an adjustable fade-in when the LFO retriggers. When in freerunning mode, the Fade works when the plugin receive a start from transport of
the DAW.

•

Phase: Sets the starting state of the LFO waveform.

•

Amp: Scales the overall output level of the LFO.

Modulation destination slots
Below each of the two LFOs, you'll find four assignable destination slots.

Arturia - User Manual Augmented BRASS - Advanced Panel48

Vibrato and Tremolo

Vibrato and Tremolo have very simple controls. Both effects can be assigned to theindividual parts of each layer.
•

Fade: Applies an adjustable fade-in each time a voice is opened.

•

Rate: Sets the speed of the Vibrato or Tremolo in Hz.

•

Depth: Sets the amount of the Vibrato or Tremolo.

•

Poly: When active, the effect is polyphonic. It means that each voice triggers an
independent Vibrato or Tremolo.

6.2.2. FUN AKA Function

Function Generator
This aptly named Tab offers us a multi-segment envelope-meets-LFO Function Generator,
with fully adjustable breakpoints. The X-axis of the point represents time while the Y-axis is
the modulation amount. You can use Draw Mode to use shapes like Ramp or Sawtooth, or
get really creative and draw your own with the graph. You can also save your own presets
for easy recall. This function is available in the top left of the Function, on a drop down
entitled "Preset".
•49

1. The Graphic Display: This is where you can see the visual representation ofyour Function. This is fully interactive and can be modified with a mouse. Use thepencil to draw your modulation shape, listed below. Left click to add, right click
to remove points and use the double headed arrow between the points to draw
a curve, logarithmic or exponential. Use Point, Level and Time to fine tune eachof the 22 points.

Arturia - User Manual Augmented BRASS - Advanced Panel•

2. Drawing Tools:◦

Free: Adds a single breakpoint; dragging moves it.

◦

Line: Creates multiple breakpoints with straight lines between them.

◦

Ramp: Creates multiple breakpoints in a rising saw shape.

◦

Sawtooth: Creates multiple breakpoints in a falling saw shape.

•

Point: Use this to select a breakpoint, either drag up or down on the Point number
or select the point on the graphic display.

•

Level: Moves the selected breakpoint along the Y-axis.

•

Time: Moves the selected breakpoint along the X-axis.

•

3. Play Modes:◦

Env: Function plays through its cycle once when a key is pressed. You
can add a Sustain Point by double clicking on an existing point. When
playing legato, the Function is not retriggered, e.g. when 1 voice is held
and another played.

◦

LFO: Function plays through constantly, looping to the beginningwhen it reaches the end.

◦

Key Trig: Function plays through constantly but returns to thebeginning of its cycle every time a key is pressed.

•

Scale: Scales the overall output level of the function across both destinations.

•

Rate: Knob sets the Function rate.
◦

Rate Sync: Set to Hz, the Function free-runs. Set to Straight, Triplets, orDotted, the rate syncs to master tempo.

•

Bipolar: When engaged, the Function sends positive and negative output values.

•

Polyphonic: When active, each voice of polyphony gets its own Function cycle.
This option is not available in LFO (Free running) mode.

Below each of the two Functions, you'll find four assignable destination slots.

Arturia - User Manual Augmented BRASS - Advanced Panel50

6.2.3. RND AKA Random

Random Generator
If you thought Functions could get crazy, the two random modulation sources do exactly
what the name implies: They create random fluctuations in the modulation output. Each
Randomizer works as one of two types: Turing, named for the code-breaking
mathematician Alan Turing, this mode creates controlled chaos or the familiar Sample-andHold, some controls change based on which option is selected.
Common to both Turing and Sample and Hold (SnH) are:•

Polyphonic: When active, each voice of polyphony gets its own Random cycle.
This option is not available in LFO (Free running) mode.

•

Rate: Sets the speed of the randomizer.
◦•

Amp: Sets the overall modulation output of the Randomizer.

•

Turing Mode (radio button):•◦Length: Sets the length of the sequence of modulation peaks.

◦

Flip: Adjusts the probability of modulation peaks being inverted.

SnH Mode (radio button):◦

51

Rate Sync: Drop-down menu sets whether the randomizer free-runs
in Hz or syncs to tempo according to straight, triplet, or dotted values.

Smooth: Smooths the transitions between the modulation peaks. At
zero, you will see a series of uneven square waves.

•

Play Modes (radio buttons):•

Env: Randomizer plays through its cycle once when a key or another trigger ispressed. Random is not retriggered if played legato even if played polyphonic,
only for Turing.

Arturia - User Manual Augmented BRASS - Advanced Panel•

LFO: Randomizer plays through constantly, looping to the beginning when it
reaches the end.

•

Key Trig: Randomizer plays through constantly but returns to the begins its cycle
every time a key is pressed. In "Turing" Mode, Random is not retriggered if
played legato. Even with "Polyphonic" mode selected, if you play legato it will notrecreate a new random value for each voice.

For SnH mode each voice opened will retrig a new random value for his own voice
Below each of the two Randomizers, you'll find four assignable destination slots.

6.2.4. KEYS

Keyboard
The final tab in the modulation section puts the modulation back to the player. Along with
the Keys, Velocity, aftertouch, the Pitch and Modulation Wheel are all assignable modulation
sources within Augmented BRASS. This page lets you create custom curves for how they
respond. You adjust the curves as with Functions, only they’re simpler and have a maximumof four breakpoints each. For example you can use velocity to make the sound brighter,
aftertouch to add vibrato and Keyboard tracking to Morph the sound between Layers A and
B.
•

Velocity: Shapes output in response to playing velocity.

•

Aftertouch: Shapes output in response to finger pressure after initial key strike.
Note that not all keyboards sense aftertouch.

•

Modulation Wheel: Shapes output based on wheel position.

•

Keyboard: Shapes output based on note position (low vs. high) on your keyboard.

Below each of these four keyboard modulators, you'll find four assignable destination slots.

Keyboard Settings

Arturia - User Manual Augmented BRASS - Advanced Panel52

•

Keyboard Settings At the bottom of this panel you will find Global Keyboard
Settings. These settings controls the behavior of the keyboard, polyphony, andother important playing functions such as pitch glide from one note to the next.

•

Glide: Sets the amount of glide time between notes.
◦

Glide Mode:◦

Portamento: Glide always happens given any Glide knob setting
above zero.

◦Legato: Glide only happens to notes played without fully releasing the
keys.

•

Pitch Bend: Determines the pitch-bend range in semitones.

•

Velocity > Amp: This quick routing maps velocity directly to VCA output volume(both Layers).
◦

Curve Switch: When engaged, the velocity curve described in theprevious Step is applied to Velocity > Amp.

•

Polyphony: Sets a limit on the number of voices Augmented BRASS uses, frommono to 32. There is also a mono legato option.

•

Voice Steal: Determines how voices are reallocated if the polyphony ceiling isreached.
◦Reassign: The least recently used voice is assigned to the new note
only when needed.

◦

Rotate: Every new note played triggers the next available voice even
if the voice limit has not been reached.

6.3. Arpeggiator

Arpeggiator page
The Arpeggiator in Augmented BRASS takes the concept of a traditional arpeggiator, playing
back a number of notes held on a keyboard in various modes and expands upon it. There
are options here to really take the arpeggiator to the next level. Hold down your notes andselect if it sounds as a chord on selected steps or select a completely different chord with
the Chord Select option.

53

Arturia - User Manual Augmented BRASS - Advanced Panel6.3.1. Step Controls

Step Controls
This is where you make all the decisions for how your Arpeggiator will behave. Select up to
16 steps, you can also choose to omit a step to create interesting patterns, without altering
the time signature. simply click on the step number. Adjust velocity and gate per step or
randomize these functions.
•

1. Step: Chooses whether the corresponding step is active or silent.

•

2. Chord: On Selected steps this triggers the chord you are playing or a chord set
in Chord Select. This will only play if the velocity step is active or within the rangeof the sequence.

•

3. Velocity Bars: Sets the velocity of the note sounded at each step.

•

4. Gate Bars: Sets the note length or “window" for each Step to occur.

These settings apply to both the Velocity and Gate rows•

5. Randomize: Adds random variation to Velocity or Gate.

•

6. Polyrhythm: When active, Velocity and Gate can have different step lengths.
The toggles for Velocity and Gate are linked.

•

7. Reset: Resets either Velocity or Gate row to its default state.

6.3.2. Playback Controls

Playback Controls
On the bottom of the Arpeggiator page you can select how the chosen notes and Step
settings will play back.
•1. Mode: Mode from Up, Down, Up/Down Exc, Up/ Down In, Random or As played.

•

2. Division: division with rate type, swing and octave amount for your pattern.
◦

Rate Type: Drop-down menu selects whether the Arpeggiator freeruns in BPM mode or syncs to tempo with Straight, Dotted, or Triplet
options. Drag up or down to adjust the Arpeggiator tempo or Sync
division.

Arturia - User Manual Augmented BRASS - Advanced Panel54

•

3. Swing: Delays the second sixteenth-note in every eight-note to create a behindthe-beat feel•

4. Octave: Determines the octave range of the arpeggiated notes.

•

5. Chord Select: Displays pop-up menu where you can choose the chord you
want to be played when Chord is enabled. This works regardless of thearpeggiator being enabled. Select from 11 preset options or assign your own
custom chord.
◦•

Chord: Enable this to use the Chord select to be played on the Chord
bar in Step Controls [p.54]

6. Hold: As the name suggests, this holds the note or notes played after you
release the keys. This works regardless of the arpeggiator being enabled

6.4. FX

Effects page
The Effects tab gives access to the controls for both Layer and Main FX. Use the side panel
to select between:55•

1: Layer FX. Choose from up to 14 FX and select up to 2 FX per Layer.

•

2: Main FX. Select one of 3 different Delay Types and 2 Reverb

Arturia - User Manual Augmented BRASS - Advanced Panel6.4.1. LAYER FX
Each Layer has two FX slots allowing you to insert one of 14 Effects in each slot and selectup to 2 separate effects per Layer. FX A is linked to Layer A, and FX B is linked to Layer B.

Effects list
There are 14 different effects to choose from, taken from Arturia's catalogue of carefullymodelled vintage effects. Whatever effect type you choose from the list, you will be able tocontrol the overall volume and enable/disable each FX in the slot. You can also save yoursettings per FX, using the dropdown preset menu, top right of each Layer pane. Use on otherpresets you may make.

Arturia - User Manual Augmented BRASS - Advanced Panel56

6.4.1.1. Multi Filter

Multimode Filter
Multi Filter: Switch between 12/24 or 36db/oct resonant Filter Low/ Band/High pass filter.

6.4.1.2. Parametric EQ

Parametric EQ: features 5 frequency bands, an adjustable Low and High shelf and 3 fully
parametric bands with adjustable bandwidth or Q. Use can also use your mouse to selectand change settings by using the point in the graph.

57

Arturia - User Manual Augmented BRASS - Advanced Panel6.4.1.3. Compressor

Compressor: Control the dynamics of your sound with this useful tool. Set the threshold forwhen the processing begins, change the attack and release of the effect and select theamount of compression with a ratio switchable from 1:1 all the way up to 100: 1

6.4.1.4. Distortion

Distortion: Warm your sound or completely destroy it with a choice of 16 different distortion
models. Sculpt the sound further with the optional Low pass, High Pass or Band Pass filter.

Arturia - User Manual Augmented BRASS - Advanced Panel

58

The 16 distortion models

6.4.1.5. Bitcrusher

Bitcrusher: Downgrade the quality of your sound with this simple yet effective Bitcrusher.
Downsample up to 80x and change the bitdepth from 16 to 1.5 to get the crunchiest sounds!!

59

Arturia - User Manual Augmented BRASS - Advanced Panel6.4.1.6. Chorus

Chorus: Give your sound more depth with chorus. Add extra richness with up to 3 voices, use
rate and depth to take your effect from a gentle swell to something closer to vibrato! Use
Delay to increase the size and exaggerate the detune to a sickening swirl and use feedback
to cause the sound to flange!

6.4.1.7. Chorus JUN-6

Chorus JUN-6: Faithfully modelled on the much-coveted chorus module found in the Roland
Juno 6 keyboard. Adjust Rate and Depth to add this dreamy effect to your sound.

Arturia - User Manual Augmented BRASS - Advanced Panel60

6.4.1.8. Stereo Pan

Stereo Pan: Use this effect to effortlessly pan your sound from the left to the right speaker.
Select the amount of effect, the rate at which it pans and whether you want a natural or
linear sweep. Use the monobass switch to enable a simple low pass cutoff on side channel.

6.4.1.9. Phaser

Phaser: This modulation effect takes your sound and splits your signal in two. An all passfilter is added with an assignable number of poles, between 2 and 12. These are thenmodulated with rate and frequency with feedback to create the signature Phaser sound.

61

Arturia - User Manual Augmented BRASS - Advanced Panel6.4.1.10. BL20 Flanger

BL20 Flanger: Modelled on a rare & unique studio Flanger , the BL20. This effect is achievedby using a delayed version of your sound and then modulating it with an LFO. Add to thisfeedback and you can go from a faint stereo width effect to out-of-this-world compoundmodulation in no time at all.

6.4.1.11. Reverb

Reverb: Instantly give your piano that cinematic sound by adding reverb! This simplified,digital reverb allows you to recreate anything from a small ambient space all the way to a
canyon!

Arturia - User Manual Augmented BRASS - Advanced Panel62

6.4.1.12. Digital Delay

Digital Delay: This creative digital delay will let you add anything from a subtle slapback
echo to a hugely long delay and see the results with the graphic! Includes a low pass and hi
pass filter and the option to select ping-pong.

6.4.1.13. Pitch Shift Delay

Pitch Shift Delay: Get seriously creative with this much-loved vintage effect. Delay andchange the pitch of your feedback - use subtly or go wild with this wonderful effect.

63

Arturia - User Manual Augmented BRASS - Advanced Panel6.4.1.14. Tape Delay

Tape Delay: This authentic tape delay emulation pays tribute to the tape-based delays thatchanged the way music sounded forever! Add warmth to your delays and a width of soundnot found anywhere else.

Arturia - User Manual Augmented BRASS - Advanced Panel64

6.4.2. MAIN FX

Main FXThe Main FX is the final connection in the audio chain, prior to output. As they are master
effects, they affect both layers, regardless. Here you can select between Digital, Pitch-shift
or Tape Delays and Digital or Convolution Reverb. Both effects have a large graphic display
where you can affect changes with the click of your mouse!
All Main Effects share these controls:

65•

Type: Choose the type of effect.

•

Volume: Sets the overall output level of the delay.

•

On/Off: Enable/disable the effect.

•

Dry/Wet Mix: Set the blend of dry signal with the effect.

Arturia - User Manual Augmented BRASS - Advanced Panel6.4.2.1. Delay
Select between Digital, Pitch shift or Tape Delay whose full descriptions can be found withinlayer effects.

They share these controls in common:•

Time: Sets the delay time.

•

Time Sync: Drop-down menu chooses whether delay free-runs in milliseconds,
or syncs to tempo with Straight, Triplet, and Dotted options.

Digital Delay
Digital Delay: This creative digital delay will let you add anything from a subtle slapback
echo to a hugely long delay.
Arturia - User Manual Augmented BRASS - Advanced Panel66

•

HP Freq: Highpass filter; cuts low frequencies in the delayed signal only.

•

LP Freq: Lowpass filter; cuts high frequencies in the delayed signal only.

•

Feedback: Adjusts the number of repetitions (taps) by feeding the delayed signal
back into the effect.

•

Stereo: Increases stereo width by adding offsets in delay time between channels.

•

PingPong: When active, pans delayed signal between left and right channels.

Pitch Shift Delay
Pitch Shift Delay: Get seriously creative with this much-loved vintage effect. Delay andchange the pitch of your feedback - use subtly or go wild with this wonderful effect.

67•

Pitch-Shift: Sets the amount of pitch-shifting, upwards or downwards.

•

Offset: Adds a pitch offset between the left and right channels.

•

HP Freq: Highpass filter; cuts low frequencies in the delayed signal only.

•

LP Freq: Lowpass filter; cuts high frequencies in the delayed signal only.

•

Feedback: Adjusts the number of repetitions.

•

Detune: Sets the detune between the left and right channels.

•

Spray: Adds randomness to the time spread of the repetitions, in milliseconds.

Arturia - User Manual Augmented BRASS - Advanced PanelTape Delay
Tape Delay: This authentic tape delay emulation pays tribute to the tape-based delays thatchanged the way music sounded forever! Add warmth to your delays and a width of soundnot found anywhere else.
•

Intensity: Adjusts the feedback and thus the number of repetitions.

•

Input Vol: Sets the input gain of the Tape Echo.

•

Fine: Lets you fine-tune the delay time in milliseconds (from -50.0ms to
50.0ms).

•PingPong: When active, pans delayed signal between left and right channels.

•

Stereo: Adds stereo width via a small offset in delay times between channels.

Arturia - User Manual Augmented BRASS - Advanced Panel68

6.4.2.2. Reverb
Add that special gloss to your sound, with our choice of digital or convolution Reverb. Bothseek to place your sound in an acoustic space, each using different methods.

They share these controls in common:

69•

Input HP: Highpass filter; cuts low frequencies in the input signal.

•

Input LP: Lowpass filter; cuts high frequencies in the input signal.

•

Decay: Sets the time it takes for the Reverb to die out.

•

Size: Adjusts the size of the virtual room.

Arturia - User Manual Augmented BRASS - Advanced Panel

Digital Reverb
Digital Reverb, in this case Algorithmic, emulates an acoustic environment by using delaylines, loops and filters. Recreate anything from a small ambient space all the way to a
canyon!
•Damping: Reduces the level of high frequencies and shortens their decay time.

•

Pre-Delay: Adds a delay before early reflections are heard.

Convolution Reverb

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Convolution reverb runs a model of an actual acoustic space like a club, church, or concert
hall. It’s based on impulse responses — recordings of a sharp transient sound (think starter
pistol or drum hit) in those spaces. The sound of your instrument then sits in for the original
sound in a number-crunching process called convolution.

Convolution Reverb list
29 spaces are available from the classic church and concert hall to the more far out flight tomars or water drive. Select your space, sit back and enjoy.

71•

Input Gain: Adjusts the gain of the signal coming into the Convolution Reverb.

•

Room Type: Choose from 29 virtual spaces.

Arturia - User Manual Augmented BRASS - Advanced Panel6.5. Macros

Macros Tab
Macros are the heart and soul of Augmented BRASS, enabling us to set one control tochange many parameters simultaneously. By using the side tab, we can select between
the Sound and Effects macros. The controls for these are presented on the main page ofAugmented BRASS.
•

Color This macro affects the color and harmonic content of the sound. Thismeans the sound engine and filter parameters, of each layer. Select up to 6
destinations to change the texture of your sound.

•Morph Allows you to morph between Layer A and Layer B. Select up to 8
parameters freely assignable between both layers, to transform you sound.

•

Time Changes the timing of the preset. Select up to 6 destinations to change theenvelope parameters of each layer.

•

Motion This macro allows you to add movement to your sound. Assign up to 6
parameters from the Modulation and Arpeggiator Tabs.

•

FXA This adjusts various parameters linked to the insert effects, directly effecting
Layer A.

•FXB This adjusts various parameters of the insert effects, directly effecting Layer
B.

•

Delay Add movement to your sound with delay. This macro can control any
effect parameter including the amount of wet/dry mix. Delay is an insert effecton the Master bus and the first FX in the chain.

•

Reverb Add space to your sound with reverb. This macro can control any effectparameter including the amount of wet/dry mix. Reverb is an insert effect on the
Master bus. Reverb follows Delay in the FX chain.

To assign a parameter to a Macro, click one of the panes in the visual strip that runs along
the bottom. Text will appear with information on which parameters you can route. These
will then be highlighted in purple on the relevant tab, allowing you to assign to the selected
Macro, Modulator or Keyboard setting.

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6.5.1. SOUND

Assignable Parameter Slots
On the Sound page we can assign up to six parameters to be controlled by the associatedcontrol above, although the Morph macro has eight. Once you have selected the parameter,
within each slot you have the following settings:•

On/Off: Enables and disables the Macro’s routing to the destination - without
removing it entirely.

•

Amount: Drag up or down on the number field to set the amount of the - Macro’s
effect on the destination.

•

Curve: Drag on the adjacent curve icon to adjust the curve of the Macro’s effecton the destination.

To set the amount of parameter of the macro to a destination, hold your mouse over its
numeric amount or contour will then turn your cursor into up/down arrows which thenallows you to increase or decrease the value. Dragging on the contour sets the depth, thesame as doing so in the numerical box described above.
The Sound Macros can in turn be modulation destinations, allowing for very expressive
playing. Velocity, aftertouch, the modulation wheel and keyboard tracking are the eligible
sources.

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Arturia - User Manual Augmented BRASS - Advanced Panel6.5.2. EFFECTS

Assignable Parameter Slots
On the Effects page we can assign up to four parameters to be controlled by the associatedcontrol, above. Once you have selected the parameter, within each slot you have thefollowing settings:•

On/Off: Enables and disables the Macro’s routing to the destination - without
removing it entirely.

•

Amount: Drag up or down on the number field to set the amount of the - Macro’s
effect on the destination.

•

Curve: Drag on the adjacent curve icon to adjust the curve of the Macro’s effecton the destination.

To set the amount of parameter of the macro to a destination, hold your mouse over its
numeric amount, this will then turn your cursor into up/down arrows which then allows you
to increase or decrease the value.

Arturia - User Manual Augmented BRASS - Advanced Panel74

7. SOFTWARE LICENSE AGREEMENT
In consideration of payment of the Licensee fee, which is a portion of the price you paid,
Arturia, as Licensor, grants to you (hereinafter termed “Licensee”) a nonexclusive right touse this copy of the Augmented BRASS (hereinafter the “SOFTWARE”).
All intellectual property rights in the software belong to Arturia SA (hereinafter: “Arturia”).
Arturia permits you only to copy, download, install and use the software in accordance withthe terms and conditions of this Agreement.
The product contains product activation for protection against unlawful copying. The OEM
software can be used only following registration.
Internet access is required for the activation process. The terms and conditions for use of thesoftware by you, the end-user, appear below. By installing the software on your computer
you agree to these terms and conditions. Please read the following text carefully in its
entirety. If you do not approve these terms and conditions, you must not install this software.
In this event give the product back to where you have purchased it (including all writtenmaterial, the complete undamaged packing as well as the enclosed hardware) immediately
but at the latest within 30 days in return for a refund of the purchase price.
1. Software Ownership
Arturia shall retain full and complete title to the SOFTWARE recorded on the enclosed disks
and all subsequent copies of the SOFTWARE, regardless of the media or form on or in which
the original disks or copies may exist. The License is not a sale of the original SOFTWARE.
2. Grant of License
Arturia grants you a non-exclusive license for the use of the software according to the terms
and conditions of this Agreement. You may not lease, loan or sub-license the software.
The use of the software within a network is illegal where there is the possibility of acontemporaneous multiple use of the program.
You are entitled to prepare a backup copy of the software which will not be used for
purposes other than storage purposes.
You shall have no further right or interest to use the software other than the limited rights as
specified in this Agreement. Arturia reserves all rights not expressly granted.
3. Activation of the Software
Arturia may use a compulsory activation of the software and a compulsory registration of
the OEM software for license control to protect the software against unlawful copying. If you
do not accept the terms and conditions of this Agreement, the software will not work.
In such a case the product including the software may only be returned within 30 days
following acquisition of the product. Upon return a claim according to § 11 shall not apply.
4. Support, Upgrades and Updates after Product Registration
You can only receive support, upgrades and updates following the personal productregistration. Support is provided only for the current version and for the previous version
during one year after publication of the new version. Arturia can modify and partly orcompletely adjust the nature of the support (hotline, forum on the website etc.), upgrades
and updates at any time.
The product registration is possible during the activation process or at any time later throughthe Internet. In such a process you are asked to agree to the storage and use of yourpersonal data (name, address, contact, email-address, and license data) for the purposes
specified above. Arturia may also forward these data to engaged third parties, in particular
distributors, for support purposes and for the verification of the upgrade or update right.
75

Arturia - User Manual Augmented BRASS - Software License Agreement

5. No Unbundling
The software usually contains a variety of different files which in its configuration ensure
the complete functionality of the software. The software may be used as one product only. It
is not required that you use or install all components of the software. You must not arrange
components of the software in a new way and develop a modified version of the softwareor a new product as a result. The configuration of the software may not be modified for the
purpose of distribution, assignment or resale.
6. Assignment of Rights
You may assign all your rights to use the software to another person subject to theconditions that (a) you assign to this other person (i) this Agreement and (ii) the software or
hardware provided with the software, packed or preinstalled thereon, including all copies,
upgrades, updates, backup copies and previous versions, which granted a right to an
update or upgrade on this software, (b) you do not retain upgrades, updates, backup copies
und previous versions of this software and (c) the recipient accepts the terms and conditionsof this Agreement as well as other regulations pursuant to which you acquired a valid
software license.
A return of the product due to a failure to accept the terms and conditions of this Agreement,
e.g. the product activation, shall not be possible following the assignment of rights.
7. Upgrades and Updates
You must have a valid license for the previous or more inferior version of the software inorder to be allowed to use an upgrade or update for the software. Upon transferring thisprevious or more inferior version of the software to third parties the right to use the upgrade
or update of the software shall expire.
The acquisition of an upgrade or update does not in itself confer any right to use thesoftware.
The right of support for the previous or inferior version of the software expires upon the
installation of an upgrade or update.
8. Limited Warranty
Arturia warrants that the disks on which the software is furnished is free from defects inmaterials and workmanship under normal use for a period of thirty (30) days from the dateof purchase. Your receipt shall be evidence of the date of purchase. Any implied warranties
on the software are limited to thirty (30) days from the date of purchase. Some states do notallow limitations on duration of an implied warranty, so the above limitation may not apply
to you. All programs and accompanying materials are provided “as is” without warranty of
any kind. The complete risk as to the quality and performance of the programs is with you.
Should the program prove defective, you assume the entire cost of all necessary servicing,
repair or correction.
9. Remedies
Arturia's entire liability and your exclusive remedy shall be at Arturia's option either (a)return of the purchase price or (b) replacement of the disk that does not meet the Limited
Warranty and which is returned to Arturia with a copy of your receipt. This limited Warranty
is void if failure of the software has resulted from accident, abuse, modification, or
misapplication. Any replacement software will be warranted for the remainder of theoriginal warranty period or thirty (30) days, whichever is longer.
10. No other Warranties
The above warranties are in lieu of all other warranties, expressed or implied, including but
not limited to, the implied warranties of merchantability and fitness for a particular purpose.
No oral or written information or advice given by Arturia, its dealers, distributors, agentsor employees shall create a warranty or in any way increase the scope of this limited
warranty.
Arturia - User Manual Augmented BRASS - Software License Agreement7611. No Liability for Consequential Damages
Neither Arturia nor anyone else involved in the creation, production, or delivery of thisproduct shall be liable for any direct, indirect, consequential, or incidental damages arisingout of the use of, or inability to use this product (including without limitation, damages forloss of business profits, business interruption, loss of business information and the like)even if Arturia was previously advised of the possibility of such damages. Some states do
not allow limitations on the length of an implied warranty or the exclusion or limitation ofincidental or consequential damages, so the above limitation or exclusions may not apply toyou. This warranty gives you specific legal rights, and you may also have other rights whichvary from state to state.

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Arturia - User Manual Augmented BRASS - Software License Agreement