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Cristina Totaro

SWAM Solo Strings v3 are OUT! 1024 576 audio modeling

SWAM Solo Strings v3 are OUT!

We are so excited to announce that SWAM Solo Strings version 3.0 for macOS and Windows* is now available!

We are confident this new release will exceed all your expectations. Not only will this upgrade include the new GUI introduced with SWAM Solo Brass, but we also made many Sound Engine improvements reaching the highest level of realism and control.

Here’s what’s new:

  • New instruments body types
  • New powerful MIDI Mapping feature that supports CC, Hi-Res CC, After-Touch NRPN, and remapping curves that allow more customization and sensitivity to any controller.
  • More realistic Legatos
  • New Pizzicato model
  • General sound improvement and behavior of bowed string
  • New timbral correction feature. You’ll be able to select up to two harmonics to adjust (for emphasis or reduction).
  • Real-time bow Sensitivity Control (on bowing mode). This gives you the ability to transform the bow, from a short bow with soft strokes to a full-length bow with strong strokes.
  • In addition to the new Standalone version, there will be a VST3 plug-in format, and Native instruments NKS compatibility.

The kind of control and realism our Solo Strings offer have never been heard before in modeled instruments!

How to upgrade your SWAM Solo Strings instruments?

If you are already a proud owner of SWAM Solo Strings version 2.0 and would like to get an upgrade to version 3.0, we got you covered.

Until September 30, 2021**, you can upgrade to version 3.0 at a 75% discount from its regular price of 120 USD. This means the upgrade cost drops from $120 to $30 for each instrument.

As an owner of version 2.x, you’ll still have access to that version in the download section of your account on our customer portal. Just keep in mind that there will be no future updates on version 2.0 (only severe bug fixing on current DAWs and OS updates).

** Update prices starting October 2021:
The 75% Discount on the paid update to version 3.0. will be reduced to 60% (each instruments update will be 48 USD instead of 30 USD)

If you bought them through a reseller, you might not find them automatically. In this case, please write us an email at support@audiomodeling.com indicating your account email address and the name of the reseller so we can process that manually for you.

New Partnership For Spanish-Speaking Musicians and Composers With Instrumentos Virtuales 🇺🇸 🇪🇸 1024 576 audio modeling

New Partnership For Spanish-Speaking Musicians and Composers With Instrumentos Virtuales 🇺🇸 🇪🇸

🇺🇸 We are proud to announce a new Reseller partnership! Audio Modeling products are now available online through Instrumentos Virtuales, our official Audio Modeling Spanish Reseller. Spanish-speaking musicians and composers are now able to buy, ask questions, and get support on Audio Modeling products in their native language. 

If you’re a Spanish speaker and would like more information about SWAM instruments or Camelot Pro, visit instrumentosvirtuales.es.


🇪🇸 Nueva asociación para músicos y compositores de habla hispana con Instrumentos Virtuales

¡Estamos orgullosos de anunciar una nueva asociación con el revendedor ! Los productos de Audio Modeling ya están disponibles en línea a través de Instrumentos Virtuales, nuestro revendedor oficial de Audio Modeling en español. Los músicos y compositores de habla hispana ahora pueden comprar, hacer preguntas y obtener soporte sobre productos de Audio Modeling en su idioma nativo. Si eres hispanohablante y quieres más información sobre los instrumentos SWAM o Camelot Pro, visita instrumentosvirtuales.es.

Control, Sync, and Automate Your Line 6 Helix Remotely With Camelot 2.0 1024 576 audio modeling

Control, Sync, and Automate Your Line 6 Helix Remotely With Camelot 2.0

Every musician with some experience knows—there’s sometimes a big difference between what the audience sees and what’s really happening on stage. 

For the uninitiated, it’s hard to understand how terrifying some situations can be when you’re playing live. There are just so many things you can’t control and that can go wrong during a gig.

If you’re a musician who heavily relies on technology for your live shows, setups can become complicated quickly. Once you add in over one instrument and throw some other toys into the mix—a laptop, some effect pedals, maybe a few other machines—your live setup can quickly become a sophisticated puzzle.

We created Camelot with this problem in mind. We want to provide live musicians with an intuitive tool that makes all the movable parts of their setup manageable in one place.

  • No more forgetting to press a button to change the preset before a song.
  • No more syncing issues.
  • No more having to click on different windows to start and stop tracks.

With Camelot, musicians can automate, sync, control, and manage their whole setup inside one intuitive digital workstation.

Practical Walkthrough Using the New Camelot Pro 2.0

Nick Trapassi gives us a great beginner guide on how you can start using the improved version of Camelot Pro.

His practical walkthrough starts by covering the basics of Camelot while addressing interesting questions, such as what is a Ghost Copy of a Song and why use one

Then he switches gears.

“So far, we’ve seen a standard use of Camelot that was already possible in previous versions. I have often used it on tour to control remotely, for example, the pedalboards of guitarists. With Camelot, they could move on stage without having to think about sound switches or without having to run towards the pedalboard right before playing a solo.”

“Now, I will get to the heart of this Version 2.0…”

It’s true, we are proud of the improvements we introduced in Camelot’s latest version. 

  • the Timeline
  • the Automation
  • the possibility to insert one or more audio backing tracks with independent volumes
  • Markers
  • the new Edit Mode for Layers  
  • the Song Archive, with the possibility of moving, duplicating, or using a ghost copy for each song
  • Finally, thanks to our close collaboration with Helix and Line6 we included (and yes, we listened to your request Nick!) the mapping of all models of the Helix Line6 pedalboards.

We believe that with all these new exciting features, we’ve taken Camelot to the next level.

In the second half of the video, Nick uses his Helix pedalboard to show us how to play with some of his favorite features in Camelot 2.0, like the Timeline and Tempo & Sync. Watch the video to see him in action!


Our mission at Audio Modeling is to help musicians be at their best, whether it’s on stage or in the studio. A huge thank you to our partners at Line6 and Helix, and to Nick Trapassi for making this video and showing off his love for Camelot Pro 2.0.

An Inside Look Into How Master Violinist Jason Yang Uses SWAM 1024 576 audio modeling

An Inside Look Into How Master Violinist Jason Yang Uses SWAM

Imagine doing your first professional tour as a musician with one of the most influential pop icons of our time. That’s the incredible story of music composer and violinist extraordinaire Jason Yang.

At only 23 years-old, Jason was hired to play violin on a world tour with none other than Madonna. With 29 countries, 65 cities, and 88 shows in 10 months, the MDNA tour is now known as one of the top-grossing tours of all time. 

And that was just the beginning.

Since then, he made appearances in acclaimed TV series and shows such as The Colbert Report, Glee, and The Tonight Show with Jay Leno and collaborated with international brands like Panasonic, Adidas, Hilton, and Ford. 

But now, in these COVID times, live performances are at a halt. And like so many other musicians, Jason is now focusing on composing while he is social distancing at home in Los Angeles, California. And can you guess what’s his latest passion these days? Playing with Audio Modeling’s very own SWAM instruments!

In an interview for the ILIO Artist Spotlight, Jason talks about how he grew up to become a violinist, his experience playing on stage with Madonna, and gives us unique insights on how he uses SWAM instruments and why he fell in love with them.

Taking All Your Experience of an Instrument and Placing It Into the Computer

When asked how he encountered Audio Modeling and SWAM instruments, Jason explains that like pretty much everyone else, he first started by exploring traditional sample libraries.

“It was really hard to find good-sounding sample libraries for instruments like the violin. It’s because of all the tiny details… That’s what makes the difference in the sound. With sample libraries, I couldn’t get anywhere similar to how I express myself on my instrument. That’s when I heard about Audio Modeling… because that’s pretty much exactly what their mission is.”

“So I tried out SWAM instruments and got them to be more expressive by thinking inwardly about all the little nuances I do in my violin playing to be expressive. The main parameters I control are expression, vibrato, and a bit of pitch bend.”

Jason goes on demonstrating this by using the SWAM Clarinets to play the famous opening solo of Rapsody In Blue on his Nord Stage 2. 

“Transitioning notes are crazy in SWAM! That last line with the glissando at the end is extremely important. The glissando sounds great just by playing with the velocity, even before adding any pitch bend or expression. The softer I play the subsequent note, the more drawn out the glissando will be. It’s not just a slow or fast glissando, it’s a bunch of values in between depending on all those MIDI values for velocity.”

If you’re wondering how technically difficult it is to reach this level of quality with SWAM, Jason offers great insight.

“In a way, it’s kind of technical, but in another way, it really clicked intuitively because it feels like what I’ve been doing on my own instrument this entire time. For example, with the SWAM violin, you can hear the placement of the bow, whether it’s close or far from the bridge. That’s just crazy! So if I can control these things with ease, I can just take all my experience with the instrument and put it into the computer, just like that.”

Admittedly, Jason is baffled by SWAM’s technology.

“When I’m playing each note, it’s creating it live as opposed to drawing on a sample and manipulating it that way. I mean… I don’t understand it, but I love it!”

And we love you too, Jason! Thank you for giving us such a great inside look into your past and present reality as a musician, and for showing us how you like to configure and play with our SWAM instruments. And thank you to Michael and all the team from ILIO for sharing this with us!

Click below to watch the full interview if you’d like to see (and hear) firsthand all of Jason’s stories, tips, and advice on music and SWAM.


A New Milestone Is Reached! 1024 576 audio modeling

A New Milestone Is Reached!

After much anticipation, we are finally ready to share with you the big news: SWAM Solo Brass for iPad is now available! 

Here’s why we are so excited about this:

SWAM Solo Brass for iPad

The incredibly powerful Physical Modeling technology is going MOBILE. 

With our SWAM Solo Brass for iPad, you now have the unique ability to recreate all the expressiveness and subtleties of a natural trumpet sound, played by a real player, in any style—from classical to jazz, passing through Balkan and even microtonal music. 

SWAM Solo Brass for iPad can be used as a standalone instrument for playing in real-time, or as a plugin for mobile music production. Play with your favorite external controller or directly from the iPad through our intuitive interface.

To kick things off—and to celebrate this new achievement—we are offering a limited-time discount. Don’t miss out on this special offer! 

Until February 22, you can buy:

  • each instrument: $29.99 19.99
  • one family instrument (SWAM Trumpets, SWAM Trombones, and SWAM Horns and Tubas): $124.99 84.99

Get a single instrument today and complete the bundle with a one-shot Buy action.


NAMM, Believe in Music, Audio Modeling News! 1024 576 audio modeling

NAMM, Believe in Music, Audio Modeling News!

NAMM, Believe in Music Week is starting today so it’s the time to reveal our news!

SWAM Solo Brass – iPad version

Are you in love with SWAM Solo Brass instruments and want to play them on your iPad? Finally, that time has come!
SWAM Solo Brass iOS version will be available after NAMM, just after the final validation from the public beta program that is currently running. 

Register here if you want to test it now!

SWAM Solo Brass – version 1.6

SWAM Solo Brass for macOS and Windows Update v1.6  is almost ready to be shipped with fixes, and some User Experience and Sound improvements.

SWAM Solo Brass v1.6.0 changelog


– Dedicated Sidebar Menu for Navigation

– General User Experience (UX) improvements and restyling

– Parameter Groups Locking: it’s possible to “freeze” a set of parameter values when selecting different presets

– Improved Preset management

– Improved “Reset” experience. New Sound Engine, MIDI Mappings and Micro Tuning – presets ready to use

– Virtual MIDI Output port for Standalone Application (macOS)

– VU-meters

– Timbral Shaping

– Added Microtuning factory presets

– Added MAQAM support for Microtuning control via MIDI

– Added MIDI Mapping factory presets, especially for Wind Controllers

– Added Root and Steps on Microtuning control surface

– Transpose and Microtuning control by SysEx

– Improved Early Reflection algorithm

– Interactive Slide/Valves and Mute Control

– “Force Hold Compatible Pipe” and “Pipe Selection” key switches

– Improved Hand Mute behavior, especially for French Horns

– Sound behavior improvements

– Extended range for some Trumpet, Trumpet C and Piccolo Trumpet

– Improved license and authorization check

– Added “Options” for handle scroll wheel for horizontal sliders and screen lock

– Improved MIDI Mapping management, especially for learning usability

– Added “bipolar” mode in MIDI remapping curve


– Windows installer: automatic uninstallation of previous installation

– Dynamic Envelope not working when Pipe Selection is set to Manual

– Erroneous fast slide on very first note

– Sustain off stops held notes


– Ableton Live: automated parameters also assigned to a MIDI CC are added to Ableton’s Undo list. This behaviour does not happen with other DAWs

SWAM Solo Strings – version 3.0


SWAM Solo Strings version 3.0 will be available from March 2021!
SWAM Solo Strings will have a major upgrade to v3.0
Not only will this update include the new GUI and User Experience introduced with SWAM Solo Brass, but also many Sound Engine Improvements that reach the highest level of realism and control, never before heard from a physical model! 

The Upgrade for existing customers will be available in March with a 75% discount from the full price. The non-sale price of Solo Strings v3 will stay the same as Solo Strings v2.
In addition, new customers that buy any Solo Strings Instruments from January 18 to the day of the release of SWAM Solo Strings v3 will get a FREE Upgrade to the new v3 version when released.


Manage your Tracks, Layers and items with Drag & Drop in Edit mode 1024 576 audio modeling

Manage your Tracks, Layers and items with Drag & Drop in Edit mode

Usually, the complexity of a Software is related to the number of available features it has. A common consequence is pain, confusion, and frustration for users. We didn’t sacrifice usability with Camelot 2.0. While we added a huge number of new features to address your requests, we also redesigned its GUI and kept the same intuitiveness and ease of use that version 1.x had.

With the 2.0 version we addressed a few usability issues of version 1.x but also improved the language and organization of its sections…

On the Timeline and Scene views, the screen area is organized in sections with a dedicated + button to add the related content.

You can find the Backing Tracks timeline, the Scenes timeline and Markers on the Timeline screen.

Scene Layers, Song Racks, and Setlist Racks are on the Layer View screen.

Each section has an Edit button (pencil icon) that triggers the new Edit mode. This mode has been created to allow easy drag & drop reordering, labeling, color customization and delete actions. Having a separate area for editing has the advantage of separating potentially dangerous actions if triggered unintentionally during a live performance.

Audio Modeling at NAMM Believe in Music Week, Register Now! 1024 576 audio modeling

Audio Modeling at NAMM Believe in Music Week, Register Now!

The 2021 edition of NAMM, the historic trade show for the music product, will be different.
In light of the COVID-19 pandemic, the NAMM Show has become “NAMM, Believe in Music”: the global gathering to unify and support the people who bring music to the world.
Believe in Music, to be held from 18 to 22 January 2021, will not be the usual NAMM Show or a virtual tradeshow but will feature an interactive marketplace to connect buyers and sellers, trying to offer support for those most deeply affected by COVID.

You can follow the event by visiting believeinmusic.tv, just register for free here: https://attend.believeinmusic.tv/register.

Despite the difficult times, we will also be present at NAMM, Believe in Music, with the Session organized by The MIDI Association.

Our event, “MIDI Polyphonic Expression MPE”, will be on January 18 at 9 am Pacific Time. We are going to illustrate MPE, the universal protocol for electronic music. MPE allows digital instruments to behave more like acoustic instruments in terms of spontaneous, polyphonic sound control. So players can modulate parameters like timbre, pitch, and amplitude — all at the same time.

Our SWAM powered instruments are a must choice if you want to make realistic emulations of acoustic instruments!

With us, they will also be there Keith McMillan Industries, moForte, ROLI, and other MPE companies.

To follow our event, register for free at attend.believeinmusic.tv.

That’s not all… we are going to reveal important news during the NAMM, Believe in Music Week!

When Technology Meets Music – A Coffee With Roger Linn 1024 576 audio modeling

When Technology Meets Music – A Coffee With Roger Linn

We have visited our friend Roger Linn in his home in Los Altos, California, which is in the heart of Silicon Valley.
We spent a nice time together talking about the relation between Music and Technology.

Roger Linn is a designer of electronic music products.
He’s best known for the first digital drum machines that he made starting in 1979: we can mention, for example, the LM-1 , the LinnDrum, and the Linn-9000, that were used on lots of pop records in the 1980s by many artists, like Prince and Madonna, just to mention few of them.

Then, in the 90s, Roger also made the MPC Drum Machines with the company Akai, and those were used very heavily in hip-hop music production and other dance-related styles.

Then, in the 2000s Roger focused on making guitar products: the Adrenaline pedal. These products contributed to transforming electronic music applying to the Guitar World the ideas and tools that people have been using with keyboards or modular synthesizers.

One of the most recent projects is an instrument called Linnstrument, which attempts to bring the expressive performance control of acoustic instruments to electronic sound as an alternative to the MIDI keyboard which is just a bunch of on-off switches.

In your opinion, what’s the role of technology in relation with music?

Well, it’s a great enabler as it is in all other forms of society, in particular in music, MIDI has allowed a dramatic improvement because it’s allowed the separation of the human interface of the musical instrument from the sound generation.

Before MIDI, if you wanted a violin sound, you had to play the violin which is very hard! You’d have to hold up between your chin and your neck and get all kinds of muscle pains just to get a violin sound, and you’d have to spend years just to play it in tune!
If you wanted a saxophone sound you’d have to spend a few more years to learn where the notes are in a saxophone! In other words, the human interface was very much limited by the need for the instrument to make an acoustic sound.

MIDI changed all that 34/35 years ago because you could choose your human interface, usually, people use the standard MIDI piano keyboard, and then you can separately choose your sound.
Of course, the problem we found out is that MIDI keyboards on-off switches are not very well suited to creating the wonderful performance gestures of a violin, of a guitar, or a saxophone, and that’s what’s changing these studies now.
The main important thing is is that the technology has allowed us to do not only that separation of the human interface from the sound generation of musical instruments but also has allowed us to record information as you would on a tape recorder, things like change the sound of the performance after you’ve recorded it and many other things as we’re all aware of. So technology has been a wonderful boon for music in general and clearly, if you listen to music today it’s influenced just about everything in music.

What’s the relationship between SWAM and LinnStrument?

I would say that they’re tremendously important!
One thing that’s so interesting is that certain instrument sounds stand the test of time, and over the centuries we’ve learned that while many instruments died away, the sound of the violin, and the cello, and the saxophone, and the clarinet, and so many other instruments that in the Darwinism of musical instruments survived in the current orchestra or in the current band.
Guitar and Piano are others, this is because people have agreed these are great sounds. And so in synthesis, we were exploring new sounds, but sometimes we’re forgetting that there are sounds that have wonderful qualities and by the way, we’ve all heard the violin and performances for many years and when we hear it again whether it’s a real violin or a SWAM instrument there’s an emotion that happens.

Not only is it a good sound that has survived the test of time but we’ve heard so many beautiful performances with it.
So all that power is packed into each SWAM instrument, and when I play the smaller instruments with my instrument and I’m able to do those same violin gestures like vibrato, or portamento, or glissando, it raises emotion in me that I could not have because I don’t know how to play the violin.

So I think the SWAM instruments are tremendously important, and nobody else has done what Audio Modeling is done it’s so much better for expressive control than samples because samples are just snapshots but it is so wonderful to get a sound that is better than any sampling instrument but to have it be so malleable and to be able to change timbre, and expression, and pitch, and all be so accurate. So I think it’s just wonderful and SWAM instruments have really shown the power of the instrument to my users and so many of them play this one instrument so I have nothing but gratitude for Audio Modeling.

How about the near future in technology and musical instruments?

Well, one thing I’m seeing which is very gratifying is the increasing popularity of expressive instruments like mine Linnstrument, or ROLI Seaboard, or other instruments… and it is so wonderful to see this because I’ve missed expressive solos in popular music.

I’ve missed expressive solo performances in music for pictures, in music for dance. It seems like this because everyone’s playing music with on-off switches, which is what a MIDI keyboard is. It seems that music has gotten more boring.

And most importantly, if you listen to all electronic music these days it’s being used for the background. Music background for singers and pop songs, background for a picture in music, for picture background for dance, in electronic dance music…
I think what is so exciting is to see this adoption of expressive instruments and expressive sound generators, like the SWAM instruments, and so what I see, also what I’d love to see on top of that the SWAM instruments are wonderful for perfectly emulating the original orchestral instrument and there’s nothing better than nothing that comes close what I’d love to see is because Audio Modeling’s SWAM technology is so incredible!
I’d love to see a physical modeling synthesizer come out of the Audio Modeling Company that would use your technology but for creating new sounds that have a hint of a violin or a hint of a saxophone but allow the user to take it and create a new instrument.
Maybe a hybrid between a woodwind and a bowed string, or something that has a hybrid between a violin and an analog synthesizer sound, or something like that.
But allow someone to create their own sounds but not be so limited by the standard oscillator filter model to be able to break that you know and physical

I think no one’s created a good human interface an user experience for that and I think the Audio Modeling Company is perfectly positioned to do that!

Do you think that AI could have a role in music in the future?

It’s hard to say, I think there are some possible cases where machine learning could be used to help, perhaps the user experience, designing the user experience, but at the same time, we’re in a unique position in creating electronic music instruments, because we’re looking for instruments that enhance the experience of someone expressing human creativity, and so in many other areas of the AI we were looking to replace the human but that’s different with musical instruments. We’re looking to augment the uniquely human skills.
So it’s hard to say how all machine learning would help in that regard but I’m sure I will be surprised because I’ve been surprised before!

The reason why Camelot is the Best MIDI Patchbay and router ever created 1024 576 audio modeling

The reason why Camelot is the Best MIDI Patchbay and router ever created

Camelot was created to address the most complex live performance needs with a simple and guided workflow. In the past, what could only be achieved with a complex setup made of connecting different applications and devices together, Camelot combines in one, beautifully designed interface.

Camelot is a Setlist Manager, a Software Instrument & FX Host, a PDF Music Score reader, a Multitrack Audio Player, and the most advanced MIDI Patchbay and Router, all at the same time.

The MIDI engine in Camelot is not limited to sending only basic messages, it delivers you a plug & play experience with your Instruments. Camelot Smart Maps deeply communicate with Hardware devices, allowing you to recall your hardware presets with a minimal knowledge of MIDI. You can switch modes or manage multi-part patches in Camelot without needing to access the panels of your hardware. MIDI routing and processing unlocks endless combinations. Imagine playing your instruments from one controller in one Scene, then switching seamlessly to another configuration that plays different tone generators and audio effects. This is all done without the need to unplug and re-plug MIDI cables on the fly!

The Smart Scene Transition in Camelot is unique because it not only allows you to switch scenes without sound interruptions, it also takes care of smooth MIDI transitions between different routings and configurations. For example, if a MIDI device is not in use in the scene you are transitioning to, you will not get stuck notes because Camelot intelligently keeps the MIDI instances from the previous scene alive until you release the key pressed or the sustain pedal.

The MIDI Port Manager is the best ever created, and it doesn’t rely on aliases or technicalities. When a MIDI port is not detected, a red badge pops up so that you can quickly address that issue. You can either replace the missing port or reconfigure your setlist with different Hardware. And you can do all of this with one button. Easy.

With the 2.0 version of Camelot, MIDI is even better. We introduced a MIDI monitor on each layer so you can easily check your connection and advanced channel routings… Camelot’s Layer Connectors allow cross connection and MIDI bridges between layers. For example, you can have only one sustain pedal connected to one device and use it with all devices that are played by other controllers.

This is just the tip of the iceberg! Explore Camelot and discover how easy live performing can be with multiple hardware devices, virtual instruments, and audio effects. While Camelot does all of the heavy lifting, you can keep your focus on giving your best performance yet.