Traditionally, reverb plugins have relied on recorded room impulse responses to recreate acoustic spaces. However, SWAM String Sections takes a revolutionary approach, employing precise mathematical computations to capture the intricate dance of your music with the surfaces of the virtual room.

Select your preferred room, add the necessary sections, fine-tune the size, tweak absorption characteristics, and strategically position your string sections. The flexibility doesn’t end there—reposition the microphone closer for an intimate touch or push it farther away for a lush reverb effect.

What sets the Room Simulator apart is its ray tracing approach, offering a level of realistic precision that transcends the rough approximations of conventional algorithmic reverbs. Say goodbye to hours spent tweaking EQ and effects in pursuit of a lifelike sound; SWAM String Sections Room Simulator brings you closer to reality effortlessly.

While a maestro may skillfully wave a baton to coax the best sound from an orchestra, they are bound by the inherent sound of the concert hall. With SWAM String Sections, you break free from those limitations. Just as adeptly as a maestro conducts a symphony, you can craft the perfect room sound.

The SWAM String Sections Room Simulator is where your music takes a deep dive into innovation.

Watch the magic unfold:

This extraordinary product is not merely a symphonic emulation but the culmination of years of relentless research and development. It represents the epitome of what’s achievable when creativity, expertise, and technology converge. The journey to create SWAM String Sections began with our groundbreaking solo instruments, and it has led us to a place where orchestral music takes on new dimensions of realism.

Modeling the Unseen and Unheard

Modeling a symphonic ensemble is not a straightforward endeavor. It’s not just about combining solo instruments; it’s about understanding the intricacies of an entire section performing together. It’s about crafting a virtual room where the music comes to life. It’s about simulating the subtle interactions between musicians, and it’s about optimizing resource and CPU usage to ensure a seamless experience.

What you hear and see with SWAM String Sections is the fruit of intense research, countless iterations, and the art of making calculated compromises. It’s a product designed to deliver the most authentic orchestral sound available in the world of virtual instruments.

A New Age of Artistry

It’s crucial to understand that SWAM String Sections does not replace what has been done before. It’s not here to supplant the existing arsenal of musicians but to complement it. Our physical modeling instruments are the missing piece of the puzzle, the next chapter in a musician’s toolkit. They offer a level of flexibility and expressiveness that has not been possible with traditional sample libraries.

The arrival of SWAM String Sections marks the dawning of a new age in virtual orchestration. It represents the future of music-making, where technology and artistry intertwine seamlessly. Our mission is to redefine what’s possible, to unlock the uncharted potential of orchestral sound in the digital realm, and to empower musicians to create without bounds.

The Ongoing Journey

But this is just the beginning. Our story is far from complete. We operate in the realm of physical modeling, which means that we are constantly pushing the boundaries of what is feasible. We are in perpetual motion, dedicated to enhancing sound quality, system performance, and the immersive experience we offer.

As a member of our community, you are more than a user; you are an integral part of our story. Your feedback, your experiences, and your aspirations are the guiding stars that steer us forward. We invite you to be an active participant in our journey. Share your thoughts, your ideas, and your needs. Help us continue to refine and innovate.

Join Us on This Sonic Odyssey

As we set sail on this epic sonic odyssey, the destination is not fixed; it’s a horizon of limitless possibilities. Together, we’ll uncover the uncharted territories of music, where innovation and artistry come together in harmony. The future is unwritten, and you have the power to shape it. Embrace the evolution. Join us on this extraordinary journey, and together, we’ll create music that resonates with the soul.

SWAM String Sections is more than just a product; it’s a movement. It’s a redefinition of what’s possible. It’s a journey, and we want you to be a part of it.

Embrace the future. Embark on this sonic odyssey. Together, we’ll shape the world of music.

The Genesis of SWAM Technology: A Fusion of Concepts

SWAM technology harmoniously marries the principles of Physical Modeling and Behavioral Modeling, two pillars that have long shaped the world of virtual instruments. With the infusion of the Multi-Vector/Phase-Synchronous Sample-Morphing technique, SWAM takes on a new dimension—a dimension that transcends the ordinary and plunges into the extraordinary.

The Expression Revolution: Suited for Multi-Vector Expressive Acoustic Instruments

While SWAM’s capabilities are vast, it shines most brilliantly in the realm of multi-vector expressive acoustic instruments. These instruments, characterized by their need for continuous energy and multidimensional control by the musician, come to life through SWAM’s transformative touch.

To cater to the diverse needs of musicians and producers, SWAM technology comes to life through three distinct engines: SWAM-B, SWAM-W, and SWAM-S.

SWAM-B (Brass Engine): Embracing the dynamic nuances of brass instruments, SWAM-B models a range of brass sounds, including mutes. The engine encapsulates the tonal intricacies and expressive possibilities that define the brass family.

SWAM-W (Woodwind Engine): Enveloping the realm of woodwinds, SWAM-W is a haven for those seeking to breathe life into woodwind instruments. The engine captures the essence of flutes, clarinets, saxophones, and more, with an attention to detail that brings out their unique voices.

SWAM-S (Bowed Strings Engine): Within the heart of SWAM-S resides the soul of bowed strings. The engine’s intricate modeling techniques encapsulate the emotive qualities of instruments like violins, cellos, and violas, creating an experience that resonates with authenticity.

Where Innovation Meets Inspiration:

SWAM technology stands as a testament to the power of innovation in shaping the world of music production and expression. Through the fusion of concepts and the meticulous development by Stefano Lucato and Emanuele Parravicini, SWAM has revolutionized the virtual instrument landscape. As it continues to evolve, SWAM remains a beacon for musicians, producers, and creators alike—an embodiment of limitless possibilities that inspire the pursuit of sonic excellence. The journey with SWAM is an exploration of artistry and technology intertwining harmoniously, propelling us towards a future where the boundaries of musical expression continue to expand.

The Essence of Hybrid Technology:

While sampling technology plays a role in SWAM-W’s hybrid approach, it’s important to emphasize that it is not the core or heart but rather a modest contributor. In this innovative hybrid technology, a mere fraction of samples, totaling just a few megabytes, is utilized alongside sophisticated physical and behavioral modeling techniques. This stands in stark contrast to traditional sample libraries, which often boast gigabytes and terabytes of data. The true essence of SWAM-W’s authenticity lies in its ability to blend these minimal samples seamlessly with modeling techniques, creating a remarkable and accurate representation of real-world woodwind instruments. This unique approach ensures that every note, captured at various dynamic levels, maintains the richness and subtleties of its acoustic counterpart. Furthermore, the instruments are recorded in a pristine, effects-free environment, ensuring a faithful and natural rendition of their sound.

Beyond Sampling: Real-Time Dynamics and Articulation:

But what sets SWAM-W apart goes beyond precise sampling. The SWAM engine is where the magic truly happens. It brings forth accurate dynamics and articulation changes in real-time, free from phasing and stretching artifacts. This real-time control empowers musicians to shape the sound and expressive qualities of each instrument during live performance—a level of control that rivals natural woodwinds.

Understanding the Physics of Woodwinds:

To appreciate the complexity of SWAM-W, we delve into the physics of woodwind instruments. While they share the commonality of producing sound through air vibration, the physics differ depending on the type of exciter (reed, double reed, mouthpiece) and the resonator (the pipe).

Cylindrical Open-Pipe Instruments:

Cylindrical open-pipe instruments, such as flutes, produce tones with a full spectrum, including both even and odd harmonics. This allows them to generate overtones that are multiples of the fundamental tone, creating rich, complex sounds.

Cylindrical Closed-Pipe (At One End) Instruments:

Instruments like clarinets, with their cylindrical closed pipes, produce tones characterized by mainly odd harmonics, especially in the lower frequencies. The first overtone produced is one twelfth above the fundamental tone, adding depth to the instrument’s timbre.

Conical Closed-Pipe (At One End) Instruments:

Saxophones, featuring conical open pipes, behave similarly to cylindrical open-pipe instruments. They can produce a full spectrum of sound with both even and odd harmonics, contributing to their unique timbre.

The Unique Behavior of Flutes:

Flutes are particularly fascinating due to their behavior being cylindrical open-pipe instruments. However, many upper register tones in flutes are not produced solely by shortening the pipe (as with coulisse or holes) but rather through the effect of overtones. Overtones are harmonic sounds whose fundamental frequency is a multiple of the frequency produced by the full pipe.

In SWAM Flutes, the behavior of these overtones is not static; it’s dynamic and real-time. Special algorithms derived from Physical Modeling interact with the musician’s expressiveness, reproducing these behaviors dynamically and vividly.

SWAM-W: A Hybrid of Physical Modeling and Sampling:

SWAM-W is a true hybrid between Physical Modeling and sampling. While it captures the essence of woodwind instruments through sampling, it goes a step further by dynamically reproducing behaviors using algorithms. This interaction with the musician’s expressiveness gives the sound a lifelike vivacity and responsiveness, creating an experience that transcends conventional samples.

In the world of virtual woodwinds, SWAM-W represents the perfect fusion of physics and artistry—a technological masterpiece that empowers musicians to shape and express their musical visions like never before.

The Essence of SWAM-S: Pure Physical Modeling:

In a departure from its woodwind counterpart, SWAM-W, SWAM-S relies solely on Physical Modeling to create its breathtaking soundscape. There are no pre-recorded samples; instead, sound is generated in real-time through the ingenuity of innovative modeling techniques.

The Art of Precise Modeling: Digital Waveguides Synthesis:

The journey to create SWAM-S involved an in-depth study of Physical Modeling techniques, with a special focus on Digital Waveguides Synthesis, spearheaded by the esteemed Prof. Julius O. Smith. By leveraging this technique, incorporating new elements, and embarking on relentless fine-tuning, SWAM-S emerges as the ultimate virtual instrument for bowed strings—a true testament to modeling excellence.

Real-Time Control: A Symphony of Parameters:

What sets SWAM-S apart is its unwavering commitment to real-time control and expression. Musicians can seamlessly manipulate a plethora of parameters, including bow speed, bow pressure, bow position, vibrato, portamento, harmonics, tremolo, pizzicato, and more, all in a way that mirrors the nuances of a live performance. The line between virtual and reality becomes ever more blurred as SWAM-S allows musicians to shape their sound with unparalleled precision.

The Physics of Bowed Strings: A Journey into Sound:

To truly appreciate the marvel of SWAM-S, it’s essential to understand the intricate physics of bowed strings. The bow is a magical instrument that allows the player to input energy continuously, sustaining a note and influencing its timbre. Unlike plucking, bowing maintains a rich harmonic spectrum, preserving the character of the sound.

The interaction between the bow and the string is a dance of stick and slip—a regular cycle that involves the intriguing properties of friction. This interaction also has a profound impact on the instrument’s timbre, as the standing wave within the string governs the cycle of stick and slip. When this cycle occurs, the string’s motion becomes nearly periodic, resulting in a sound with an almost exact harmonic spectrum. This process reduces inharmonic effects, a phenomenon not seen when the string is plucked.

Helmholtz Motion: The Idealized String Movement:

Within the stick and slip cycles, the string exhibits a behavior known as Helmholtz motion—an idealized movement that contributes to the instrument’s unique timbre and expressiveness.

SWAM-S: Bridging Physics and Artistry:

SWAM-S expertly models this intricate system, drawing from the insights of Prof. Julius O. Smith’s Digital Waveguide Synthesis and integrating a complex friction model. Elements borrowed from the SWAM technology designed for woodwinds instruments further enhance the realism of the timbre and the overall instrument behavior. The result is a virtual instrument that not only captures the essence of bowed strings but also interacts dynamically with the musician’s expressiveness.

In the world of virtual strings, SWAM-S stands as a pinnacle of innovation—a true hybrid between Physical Modeling and artistry. It empowers musicians to craft performances that evoke the essence of live stringed instruments, bridging the gap between the digital and the real. SWAM-S is more than a virtual instrument; it’s a gateway to a world of boundless artistic expression.

The Essence of SWAM-B: Pure Physical Modeling:

Unlike its counterpart SWAM-W, SWAM-B sets itself apart by relying solely on Physical Modeling to create its intricate soundscape. This means that SWAM-B doesn’t use any pre-recorded samples; instead, it generates sound in real-time through the power of innovative modeling techniques.

A Dedication to Perfection: The Role of Digital Waveguides Synthesis:

To achieve this level of realism and control, the creators of SWAM-B embarked on an in-depth exploration of Physical Modeling techniques, with a particular focus on Digital Waveguides Synthesis. Led by the expertise of Prof. Julius O. Smith, this journey involved taking these foundational techniques, adding new elements, and subjecting them to a relentless cycle of refinement.

The Result: Best-in-Class Modeled Brass Virtual Instruments:

The culmination of this dedicated effort is clear—SWAM-B boasts some of the best modeled Brass virtual instruments available today. Musicians and producers can immerse themselves in a world of authentic brass sounds, all crafted through the pure magic of real-time Physical Modeling.

Unleashing Artistic Control:

One of the hallmarks of SWAM-B is its ability to grant artists unprecedented control over their brass instruments. With SWAM-B, it’s not just about playing notes; it’s about sculpting sound and expression in real-time. Musicians can finely adjust parameters such as mute distance, vibrato, shake, and portamento, allowing for an infinite spectrum of expression.

Valve or Slide? The Choice is Yours:

SWAM-B takes customization to the next level. Musicians have the freedom to select between valve and slide options for any instrument, adding an extra layer of authenticity to their performances. This level of control ensures that the virtual instrument resonates with the artist’s individual style and preferences.

Pedal Notes and Transitions: Precision Beyond Compare:

In the world of brass instruments, subtleties matter. SWAM-B doesn’t disappoint. Musicians can seamlessly add pedal notes, complete with additional valves, and exercise precise control over valve or slide transitions. It’s a level of detail that captures the essence of live brass performances.

Conclusion: A New Era of Brass Instruments:

SWAM-B represents a paradigm shift in the world of virtual brass instruments. Through the dedication to pure Physical Modeling and relentless fine-tuning, it has elevated the art of sound generation to new heights. Musicians and producers now have at their disposal a tool that empowers them to craft truly expressive and authentic brass performances. SWAM-B isn’t just a virtual instrument; it’s a gateway to a world of limitless artistic possibilities in the realm of brass.

SWAM engine is a new and innovative software that uses sophisticated modeling technology to replicate the sound of real instruments. In contrast, to sample playback, modeling technology uses advanced algorithms and physical modeling techniques to create a virtual instrument that responds and behaves like a real one.

So, what does this mean for you as a musician or producer? It means that you can now create music with virtual instruments that sound and behave like real ones. With SWAM instruments, you can create expressive and dynamic performances with all the nuances and articulations of a real instrument. This opens up a whole new world of possibilities for music-making, from solo performances to orchestral arrangements.

The key to using SWAM instruments effectively is to understand the differences between sample playback and modeling technology. While sample playback is a static representation of a sound, modeling technology is dynamic and responsive. This means that the sound of a SWAM instrument can change in real-time based on how you play it. This includes changes in tone, volume, and articulation, as well as other nuances such as breath and vibrato.

In the SWAM introduction videos, you will learn how to get started with the software and how to create realistic and expressive performances. You will learn about the different controls and settings that allow you to fine-tune the sound of the instrument to your liking. You will also learn about the different playing techniques and articulations that are available to you, and how to use them effectively in your music.

But the SWAM introduction videos are just the beginning. To really dive into the software and take your music-making to the next level, you can visit the Knowledge Base. Here, you will find a wealth of information and resources that will help you master the software and create amazing music with SWAM instruments.

In conclusion, if you are new to SWAM, you are about to embark on a thrilling journey that will change the way you make music with virtual instruments. With its sophisticated modeling technology, SWAM opens up a whole new world of possibilities for music-making. So get fired up, and get ready to take your music to the next level!

Getting Started with SWAM Solo Brass

Getting Started with SWAM Solo Strings

Getting Started with SWAM Solo Woodwinds

At Audio Modeling, we believe the ability to make music should be as close to universal as can be achieved, and that technology is the pathway that leads to broader accessibility and, therefore, wider inclusion in who can make music. This notion has become part of our quest as a company, and something we want to explore and share as widely as possible.

We recently started designing and building our products to work better with screen readers, in order to expand accessibility for those with compromised vision. This has been an enlightening experience and has highlighted for us the scope and complexity of the problem. We see that this action barely begins to scratch the surface of the solution, but it’s a start and has served to dip our corporate toe into the water.

We are not yet close to being experts in adding accessibility in our designs, but our eyes have been opened to how much room for improvement exists in current user interface designs. However, what we have already realized is that a better user interface is only one piece of the puzzle. What is needed is a complete ecosystem aimed at making music technology more usable by people with a broader range of abilities and skills.

Operating systems, code frameworks, voice-driven assistants, protocols such as MIDI 2.0, APIs that collect data, artificial intelligence (AI), and a whole range of products and services wrapping around this basic infrastructure – all of these components will be needed to realize our vision of a new experience of making music that can be enjoyed by the widest spectrum of people, including those with ADHD, learning disabilities, mobility limitations, medical or psychological disabilities, traumatic brain injuries (TBI), PTSD, visual impairments, deafness or impaired hearing, disorders on the autism spectrum, and other issues related to age, culture, or economic status.

We made this short video (and this small pasta lunch) to illustrate one possibility of how much a voice-driven interface could enhance music making:

EVERYBODY should be able to make music. Yes, that’s a tall order and we are under no illusions that we can actually achieve that goal ourselves. But we can move much closer to that objective than we now are. It will take all of us contributing to this effort to succeed, so we want to open a discussion that we hope will involve as many as possible who currently work in the field of audio and music technology. This means YOU!

We invite you all to join us and be part of the change. Enter the conversation by joining us on Discord.

We are wonderfully excited to be doing this and look forward to hearing from you!

The Team at Audio Modeling

Andrew Dugros is a native-born Italian, but it would not be inaccurate to say that his first language is music. Having been born into a musical family, Dugros started learning music at the tender age of 6, when he began studying classical piano, often being taught by a cousin who has long been a music teacher.

Barely a year later, Dugros had his first encounter with music technology. “There was an electromechanical organ at my uncle’s home,” recalls Dugros. “When I went to this instrument and was able to change its sound (with the drawbars), that was the moment when I decided that technology and music was unique work. The (role) of technology in music is very important for me.”

Dugros got his first electronic instrument, a Yamaha Portasound keyboard, before he was even a teenager. “It was a little keyboard, but, for me, it was a big experience,” he smiles. In a common pattern for keyboardists, Dugros soon acquired another keyboard, and then another.

At age 15, Dugros’ journey into music technology took another major turn. “The big change was when I bought my first sequencer and learned MIDI. This day changed my life as a musician,” Dugros emphasizes. “When I was able to record a track with the keyboard, and then record many more tracks to create a song with MIDI, it was fantastic! Obviously, I continue to play the piano as my first instrument, but keyboards and synthesizers are very important in my life.”

The first years of the new millennium found Dugros digging in to all these areas by becoming a certified Cubase teacher, studying at Milan’s famed CPM Music Institute, founding AMM (a music and technology academy you can find at http://www.accademiamusicamodernaaosta.it/), and, finally, becoming an engineer at CPM and starting his own recording studio.

Beyond all of his studio work, Dugros has also maintained an active performing career across a broad range of musical genres, including jazz, pop, gospel (Dugros is also an accomplished vocalist, often singing lead), and folk. As if that were not enough challenge for him, Dugros also played solo piano concerts.

His studio work has similarly crossed genre barriers, producing more than 50 albums for artists in classical, pop, folk, and rock.

This broad range of experience taught Dugros key lessons about what the true priorities of a musician and composer should be. With acoustic instruments, the heart of mastering them is endless practicing of fundamentals. With software, that idea translates into having a good workflow.

“We are musicians, not programmers or engineers,” Dugros begins, “We want to play, we want to compose, we want to arrange. When the computer has a problem, this is a situation in which a musician is not happy. So the workflow with a computer is very important.”

During the years when Dugros was really coming of age in music production, the quantity of available musical tools, software and hardware, was exploding. Many musicians loaded their DAWs up with endlessly scrolling menus of software instruments, but Dugros realized that was not a viable path to true mastery.

“I say to my students that it is not important to have a million applications or a million effects in the computer. You must have the instruments that you really use, and you must be able to use them. I have seen students of mine – and other musicians – that have millions of instruments but are not able to use them.

“I have instruments from four or five, maybe six manufacturers. I’ve made all of my productions and my live shows using products from only these five or six developers, plus two or three other synthesizers. If I can use an instrument very well, I can make things that are impossible to think.

“Now, I am curious, so when I see a new product, I’m curious to see it and try it. On my YouTube channel, I try many products, but the number of products I use for real production is very restricted.”

The biggest reason Dugros is so concerned with having full control over his instruments is because he believes that is necessary to expressivity, which is his number one objective.

“You can play the correct notes and you can play the correct chords, but if you don’t play expressively, you don’t play. For me, expressivity is all (that matters) in music. It’s not necessary to play 100 notes, because if you play the correct notes at the correct time with the correct expressivity, the music transmits an emotion, it transmits a sensation.

“This is one of the most important things in all of music, in everything that I do in the studio, in what I do in life, and in what I teach to my students.”

This emphasis on expressivity is what captivated Dugros when he first tried Audio Modeling’s modeled instruments, which enable expressivity through real-time control by modeling the behavior of acoustic instruments. “When I was younger, playing a saxophone sound from a keyboard was just a dream because the sound was very unnatural, very ridiculous in some cases. But when I played SWAM Saxophone for the first time, that dream became reality; I could realize the dream.”

But saying this brings Dugros right back to his argument for truly knowing your instrument in order to be able to get music out of it, because the true sound of each instrument is born largely from the idiomatic differences imposed by its physical mechanisms. “When you play a saxophone or an organ or an electric or acoustic piano, you play them in different ways. You can’t play every instrument in the same way, and expressivity changes with the sound that you use. You need to change finger position, for example, and you need to change your brain and think that you are that musician. When I play a saxophone or trumpet sound, I think like I am a saxophone or trumpet player. You need to change your mind and your technique, because (playing one of these other instruments) is not the same as simply having your fingers on a keyboard.”

While Dugros insists that both the instrument and one’s approach to it must be expressive, both of those are simply means to an end. In the final analysis, it is the approach to the music itself that determines expressivity, and that, says Dugros, comes down to immersion in the music and being in touch with your own musical voice.

“It is important to enter into the soul of the song. It’s not only about the current note or chord, you need to take your mind into the song. Expressivity is unique, so when you play a song, your version is different than any other version in the world because you are a unique person.”

Of course, this is true whether in the studio or performing live. “When you go on the stage, you’re not just a musician, you are saying something emotional. That’s one of the most important things a musician can do.”

When technology is mastered and under control, it can enable great expressivity in performance, but when things go awry, it can destroy the whole message the performer is trying to convey. Many performances today employing a lot of music technology are heavily mapped out and programmed, and Dugros feels that preparing well and then sticking with the plan is the key to everything turning out well in such situations.

“From my experience, it is very important to prepare and then not change anything. If you get on stage and begin improvising, it’s a big mistake. It is vital to go onstage and not change anything that you have prepared. That is important for the MIDI programming, but also for the music. So, when I go onstage, I don’t change a note that I have prepared.”

It was this notion that caused Dugros to put Audio Modeling’s Camelot performance environment at the center of his performance system. “It is a great frustration when you have a big setup and go to play live. It is very difficult to play and change to the correct sound at the right moment in the song. I discovered that Camelot Pro is the solution for all of these problems, both live and in the studio.”

Certainly, there are always situations that force changes, and a performer needs to be prepared to “wing it” when necessary. Dugros remembered an incident where his guitarist suddenly had a problem, which he had to cover up by jumping into a solo, so you must always have one or two things you can grab on the fly, if needed.

That is not to say that Dugros doesn’t believe in improvisation, in fact, improvising is key to his compositional method. “When I compose, I start with an improvisation. I start to play, and an idea might be right for a song. So improvisation is very important.”

The last half-century has seen synthesizers and music technology take hold and then dominate nearly every genre of music and every situation in which music is produced or heard. In all that time, the determinant of technology’s success has rested on a musician’s ability to take sophisticated instruments requiring some degree of electronic or computer savvy and get sounds out of them that evoke feelings in people. Andrew Dugros has fully immersed himself in this effort, recognizing that the mysterious art of extracting human warmth from cold electron flows and digital bits is the real objective in working with music technology. And that can only be accomplished by diving deep and mastering the technology.

Andrew Dugros has learned well that, as the song says, “You gotta get into it if you wanna get out of it.”

Now come back to the 21st century. In this time, YOU are the king (or queen, as you please), Excalibur is Audio Modeling’s powerful Camelot live performance environment, and the knights are all of your instruments, be they hardware-based, software instruments, or even acoustic instruments played into microphones. Using Camelot, you are able to command all of your instruments, in unified fashion, to adventures in performance, and the greater glory of music (ok, yeah, and maybe a little glory for yourself, too, sure, why not?).

Camelot allows you to press a single button (or step on a footswitch) and, in an instant, change presets on all of your instruments at once, for a complete transition to a new section of a song. Or maybe, instead of changing a sound, it might entirely swap out which instruments are being used for that section.

Camelot can cast spells that let you play and make real-time gestures on your MIDI controller and have each instrument be controlled differently, with the gestures scaled or mapped to curves that optimize their effect for each instrument. Camelot even gives you the sorcery to mix and process the audio from all of your instruments; the hardware devices and microphones being connected to audio interface inputs, the software instruments being routed directly.

Camelot’s magic is so awesome that it has Smart Maps which let you recall presets from your hardware devices without any kind of MIDI programming, just choosing your sound from a preset list. It casts such powerful enchantment that, far from being limited to controlling hardware synthesizers, Camelot serves guitarists just as well as synthesists, easily controlling a Line 6 Helix, Kemper Profiler, or Fractal Audio Axe.

Be the king. Be the wizard, too. This is the 21st century, and the magic of Camelot will let you be whoever you want to be. You can start right now with the many incredible magic spells in this tutorial on how to make your hardware and software instruments serve you as knights at your round table:

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