The field data suggests that consumers’ intelligence scores and their choice to co-own and lease their cars are positively associated. To fill this research gap, this study analyzes a data set of more than 30,000 new car registrations by male consumers in Finland, including cognitive test data from the Finnish Defense Forces and covariates from other governmental sources. In so doing, prior research has overlooked the influence that consumers’ fundamental, even biologically shaped, cognitive traits may have on their choice of access modes. Prior research focuses on consumers’ attitudinal motivations and consumption-cultural use experiences pertaining to such social exchange–based access modes.
We’ll also explore two of the most important factors behind a realistic performance (keeping the dynamic levels varied and applying a range of articulations) using different keyswitching techniques as well as region-based automation.With sharing economy and access-based consumption, consumers increasingly access goods through social access modes other than private ownership-such as co-ownership, leasing, or borrowing. It also makes it easier to explore your arrangement creatively – copying lines between instruments, for example, or using call-and-response elements between instrument groups. In this example there’s a host of workflow features that make this process far more amenable that you might first think.
If you’re serious about your horn arrangement, therefore, you’ll ultimately want to take the single-instrument approach that we outlined with the Studio Strings project last month. Equally, there’s little option to mix the brass section – maybe favouring one instrument group over the other or creating a more defined stereo image. Though impressive, it ultimately dictates how your music sounds and how you choose to blend instruments.įor example, a lead part could be played by a distinct combination – like trumpet and sax, or a combination of alto and tenor saxes – something that can be difficult if not impossible to force with Auto Voice Split. The result of Auto Voice Split is, of course, much closer to how a real horn arranger, or horn section for that matter, would play your music.
By comparison, the R&B Section, for example, plays just the lead voice for single lines, dividing to the full section (with an instrument per voice) when you play a chord. This might be the effect you’re after, especially for strong single-lined brass parts, but the results quickly become artificial when you play chords. With Auto Voice Split deactivated all the instruments – trombone, trumpets and saxes – effectively play in unison. The killer feature is the Auto Voice Split option. Brassed offįor quick, off-the-peg horn lines, the ensemble patches work surprisingly well, and given the distinction between the instruments, it’s easier to discern the ‘behind the scenes’ scripting than with Studio Strings. The new controls are largely self-explanatory: varying the amount of performance vibrato, creating subtle timbral difference between notices and controlling the level of key click noise that a sax naturally produces. To the right of the GUI, however, you’ll find a mix of familiar (Attack and Release) and new (Auto Vibrato, Harmonize and Key Clicks for the saxes). The principle controls – including Monophonic triggering which is useful for realistic ‘single instrument’ performances, and Dynamics via CC which is essential for realistic dynamics on long articulations – are the same.
The main controls for Studio Horns share many similar features to Studio Strings, although you’ll soon notice some differences here as well. Of course, you might also want to use a single instrument – like trumpet or sax solo – in which case you’ll turn to the single instrument patches. Blow your own trumpetĪs with Studio Strings, the Studio Horns instrument is split between single instrument patches, for example a trumpet, and full-sized ensemble patches that blend a combination of trumpets, saxes and trombones.Įnsemble patches are great for quick-and-easy brass lines, especially on pop and R&B tracks that traditionally use a blend of instruments, rather than distinct voices, whereas more involved jazz arrangements (like a big band, for example) may want the distinct and separate instruments. If you’ve paid close attention to our exploration of the Studio Strings instrument you’ll notice a fair amount of crossover between the instruments, although of course, there’s a number of unique features, as well as an adapted working methodology, that suits a slightly different set of musical objectives.