The Woodwind Patch Collection

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This page contains a collection of G2 models meant to mimic various woodwind instruments. They are all physical models, many based on the techniques described in these pages, with special attention paid to final equalization. All instruments have been equalized to approximate the spectra of sampled instruments contained in the McGill University Master Samples.

Each model on this page is a G2 performance, instead of a patch. This is because each model requires 4 DSPs to generate the sound: one DSP for the basic model, and three more for equalization. The G2 expansion board is not required.

Sample MP3

The following songs were recorded using these models. Each model was controlled with Yamaha BC3 breath controller through a Kurzweil ExpressionMate, using variation 8 on slot 1. The only post-processing added was a convolution reverb.

• Hornpipe from Water Music Suite #1, by George Frideric Handel. This is usually repeated three times when performed: first by a string section, then by two oboes and a bassoon (with the viola part ignored), and finally by all instruments together. This performance includes an oboe, a bassoon, a clarinet, and an English horn playing the viola part.

• All Glory, Laud, and Honor, an English hymn sung to a 17^th century tune written by Melchior Teschner, and performed by four flutes. Each flute plays one part in an SATB arrangement. The arrangement was moved to the key of F so that each part fit within the natural range of the flute.

The Instruments

The models are below. After each name is the instrument’s natural range.

• The saxophone (G#1 to E6) This is a straightforward reed model, as described in these pages. But it is equalized not to a particular saxophone type, but to five separate types (bass, baritone, tenor, alto, and soprano), spread across the keyboard. This creates a saxophone-like sound over a wide range of notes, all from a single patch.

• The oboe (A#3 to F6) This is based on the reed model. But this instrument plays the second harmonic of the pipe instead of the fundamental. This is achieved by changing the pipe’s shape, and by the use of a notch filter tuned to cancel out the fundamental. It changes the attack characteristic of the model.

• The bassoon (A#1 to F4) This is a straightforward reed model, as described in these pages.

• The English horn (E3 to A5) This is a straightforward reed model, as described in these pages.

• The clarinet (D3 to D6) This model is not described in these pages. It’s a G2 version of the clarinet model contained in the Synthesis Toolkit. It’s a different type of reed driver, connected to a straight pipe. Its forte is producing hollow, woody sounds. It is a well-behaved model that responds well to wide variations in air pressure.

• The flute (C4 to C7) This is a blown pipe model, chosen over the flute model because of it’s attack characteristics. A G2 overdrive module is used to create the even harmonics which are present in a flute, but absent from the blown pipe model.

Variation Programming

In each model, the following variations are programmed:

• Variation 1: This is a basic sound. It’s triggered by the keyboard, and the mod wheel provides expression.

• Variations 2 through 7: These variations use the mod wheel morph group to abuse the parameters of the model in various ways. In the flute model, variation 2 is similar to variation 1, but the overdrive module is turned off. This creates a woodier, recorder-like sound.

• Variation 8: This is the basic sound, similar to variation 1. But it’s controlled by a breath controller (MIDI CC#2). If your breath controller transmits MIDI CC#7, change the “MIDI Air Ctrl” value on the third Env page from ‘2’ to ‘7’. Also change the MIDI assignment of morph group 8 from CC#2 to CC#7.